Thoth distribution@thoth.pub 20260403T233206

urn:uuid:03416b17-e34e-4b99-9820-b9222d541498 03 01 01 thoth-work-id urn:uuid:0d72007c-f1a2-4179-b8c2-1705cfcfd254 01 thoth-publication-id urn:uuid:03416b17-e34e-4b99-9820-b9222d541498 15 9788195587841 03 9788195587841 13 2023-335001 00 BC 10 01 247 mm 01 24.7 cm 01 9.72 in 02 295 mm 02 29.5 cm 02 11.61 in 03 40 mm 03 4 cm 03 1.57 in 01 01 The Chandayan 1 B06 Richard J. Cohen Richard Cohen Member of the Middle Eastern & South Asian Languages, Literatures & Cultures Department University of Virginia Richard J. Cohen is an Indologist specializing in Middle and early New Indo-Aryan languages and literature. He is a member of the Middle Eastern & South Asian Languages, Literatures & Cultures Department, University of Virginia. He has held positions at the University of Pennsylvania, Cornell University and University of Pittsburgh. As a Senior Fulbright scholar (1999–2001) he served as the Executive Director, Indo-American Centre for International Studies in Hyderabad, India. He combines an intellectual interest in philology, translation and the history of medieval Indian painting and illustrated manuscripts. 2 A01 Naman P. Ahuja Naman Ahuja Professor of Indian art history Jawaharlal Nehru University Naman P. Ahuja is Professor of Indian art history at Jawaharlal Nehru University, New Delhi. His studies on ancient terracottas and small, everyday objects, have laid new foundations for the field of Indian visual aesthetics. His publications and curatorial projects have drawn attention to the metaphors implicit in Indian iconography, transcultural networks in antiquity and the historiography of the Arts and Crafts Movement. He has been a consultant to government and to several leading institutions on the revitalisation of museums, their narratives, and frameworks for their administration. He is also the General Editor of The Marg Foundation. 3 A01 Vivek Gupta Vivek Gupta British Academy Postdoctoral Fellow University College London Vivek Gupta is British Academy Postdoctoral Fellow at University College London. His research addresses Indo-Islamic art and literature, connected book histories, cultures of the Indian Ocean, feminist and queer histories, and the status of Indian cultural heritage. His publications have appeared in Archives of Asian Art, the Journal of South Asian Intellectual History, South Asian Studies, Muqarnas, Iran, Intersections: Art and Islamic Cosmopolitanism, Reflections on Mughal Art, among others. 4 A01 Qamar Adamjee Qamar Adamjee Qamar Adamjee is an art historian interested in the visual and material cultures of South Asia and the Islamic world, especially in the arts of the book. Her research interests lie in objects created at the overlaps of distinct cultural categories and she seeks to understand the artistic and intellectual worlds of the people who made or used them. After earning her Ph.D. from New York University’s Institute of Fine Arts, Qamar was a researcher in the Islamic art department at the Metropolitan Museum of Art in New York, and subsequently, associate curator of Islamic and South Asian art at the Asian Art Museum in San Francisco. She is currently an independent researcher, working on provenance issues of South Asian antiquities for the Smithsonian’s National Museum of Asian Art in Washington, D.C. 5 B01 Naman P. Ahuja Naman Ahuja Professor Jawaharlal Nehru University 6 A32 Jyotsna Nambiar Jyotsna Nambiar 7 A32 Nandini Bhaskaran Nandini Bhaskaran 8 A32 Aditya Mohanan Aditya Mohanan 9 A32 Malavika Madgulkar Malavika Madgulkar 10 A32 Radhika Saraf Radhika Saraf 11 A32 Aastha Singh Aastha Singh 12 A32 Mallika Nanda Mallika Nanda 13 A32 Gautam V. Jadhav Gautam Jadhav 14 A32 Shreerang Ramtirthkar Shreerang Ramtirthkar 01 eng 00 430 03 Includes bibliography and index. 09 1500 10 ART019020 10 LIT014000 01 06 02 00 In what ways does an explicit folktale about a lover and his mistress find its place at the heart of a Sufi spiritual tradition and map the politics of language and patronage that marked the Hindi heartland in the late 14th century? 03 00 One of the greats of Hindi literature, the Chandayan is an epic, presented here in English translation along with 530 known paintings used to illustrate it in the sultanate period.The 16th-century historian Badayuni tells us that the Chandayan was selected for religious instruction by the Sufi, Maulana Da’ud, in the Tughlaq period. A racy yarn recounting the romance of Lorik and Chanda, it was, equally, an allegory about ishq — love for the Divine.The translation and linguistic analysis by Richard Cohen is accompanied by essays by Naman Ahuja, Vivek Gupta and Qamar Adamjee on art, language, literary traditions and religion, highlighting India’s composite culture and the capaciousness of the early years of Indian Islam.Of singular importance in the history of Indian art, the Chandayan’s illustrations inform us about the diversity of painting traditions before the Mughals. Composed in Hindavi (using the Old Hindi dialects of Jaunpuri Avadhi), the poem points to how the “vernacular” is an invaluable source of social history and literature. It allows us to learn about the use of the Perso-Arabic script in India and the impact of writing on language. The manuscripts and story also reveal much about the evolution of regional identities and the shifting nature of patronage in the Hindi heartland between the late 14th and early 16th centuries. 30 00 One of the greats of Hindi literature, the Chandayan is an epic, presented here in English translation along with 530 known paintings used to illustrate it in the sultanate period.The 16th-century historian Badayuni tells us that the Chandayan was selected for religious instruction by the Sufi, Maulana Da’ud, in the Tughlaq period. A racy yarn recounting the romance of Lorik and Chanda, it was, equally, an allegory about ishq — love for the Divine.The translation and linguistic analysis by Richard Cohen is accompanied by essays by Naman Ahuja, Vivek Gupta and Qamar Adamjee on art, language, literary traditions and religion, highlighting India’s composite culture and the capaciousness of the early years of Indian Islam.Of singular importance in the history of Indian art, the Chandayan’s illustrations inform us about the diversity of painting traditions before the Mughals. Composed in Hindavi (using the Old Hindi dialects of Jaunpuri Avadhi), the poem points to how the “vernacular” is an invaluable source of social history and literature. It allows us to learn about the use of the Perso-Arabic script in India and the impact of writing on language. The manuscripts and story also reveal much about the evolution of regional identities and the shifting nature of patronage in the Hindi heartland between the late 14th and early 16th centuries. 04 00 Acknowledgements Note on Translation Preface Chapter 1: Introduction: Naman P. Ahuja Chapter 2: The Language and Its Context: Richard J. Cohen Chapter 3: Calligraphy: Vivek Gupta Chapter 4: Art History: Qamar Adamjee Chapter 5: The Chandayan: Translated by Richard J. Cohen Bibliography Index 01 00 03 02 https://marg-art.org/backend-media/products/chandayancover.png 01 URL https://marg-art.org/ The Marg Foundation 01 The Marg Foundation 01 Publisher's website: home page https://marg-art.org/ 02 Publisher's website: webpage for this title https://marg-art.org/product/UHJvZHVjdDo1NDQ3 16 Harish and Bina Shah Foundation 16 The Luigi and Laura Dallapiccola Foundation 16 The Raza Foundation 16 The Yusuf and Farida Hameid Foundation 16 40 02v616z87 32 10.13039/501100008393 BNP Paribas (France) Mumbai 04 01 20240301 Richard J. Cohen 02 WORLD WORLD 09 The Marg Foundation 02 Publisher's website: webpage for this product https://marg-art.org/product/UHJvZHVjdDo1NDQ3 20 08 20240301 02 4500.00 INR WORLD 02 120.00 USD WORLD