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Within this paper I argue that the paintings of two different manuscripts of the Akbarnama (The History of Akbar) reflect the formation and changes in the Mughal emperor Akbar's notion of kingship and authority during his reign. Although much research has been done on the manuscript paintings of this period, no comparison has been done on the subject matters of these manuscripts, nor have the changes been related to Akbar's notion of kingship.
The earlier manuscript, currently in the Victoria and Albert Museum, London, was produced during the mid-1580s, a period when Akbar was actively involved in forming an imperial authority as well as the production of history and art. The later manuscript, divided between the Chester Beatty Library, Dublin, and the British Library, London, was produced in 1604, only a year before his death.
The subject matters of the Victoria and Albert Museum manuscript display a legitimization of Akbar's rule based on his role as a conqueror as well as a divinely illumined being. Also, Akbar is depicted as a spiritually superior being within paintings that depict him in a religious surrounding. However, the Chester Beatty Library/British Library manuscript has only one painting with a religious subject matter, even though it displays a much wider variety of subject matters than the earlier manuscript. Due to the changes in the depiction of Akbar within these paintings, I argue that the paintings of the earlier manuscript were specifically produced to express a powerful notion of kingship based on Akbar's understanding and utilization of religious authority.
The earlier manuscript, currently in the Victoria and Albert Museum, London, was produced during the mid-1580s, a period when Akbar was actively involved in forming an imperial authority as well as the production of history and art. The later manuscript, divided between the Chester Beatty Library, Dublin, and the British Library, London, was produced in 1604, only a year before his death.
The subject matters of the Victoria and Albert Museum manuscript display a legitimization of Akbar's rule based on his role as a conqueror as well as a divinely illumined being. Also, Akbar is depicted as a spiritually superior being within paintings that depict him in a religious surrounding. However, the Chester Beatty Library/British Library manuscript has only one painting with a religious subject matter, even though it displays a much wider variety of subject matters than the earlier manuscript. Due to the changes in the depiction of Akbar within these paintings, I argue that the paintings of the earlier manuscript were specifically produced to express a powerful notion of kingship based on Akbar's understanding and utilization of religious authority.
목차
Ⅰ. 머리말
Ⅱ.『아크바르나마』의 역사서술
Ⅲ.『아크바르나마』의 세밀화에 대한 기존 연구
Ⅳ. 『아크바르나마』 소장본의 비교
Ⅴ. 빅토리아와 앨버트 박물관 소장본에 나타난 이상적인 군주상
Ⅵ. 체스터 비티 도서관/대영 도서관 소장본에 나타난 군주상
Ⅶ. 종교적인 내용의 세밀화에 반영된 이상적인 군주상
Ⅷ. 맺음말
【Abstract】
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UCI(KEPA) : I410-ECN-0101-2009-911-017672792