黑料不打烊

鈥楾he most striking example of the Mughal experiment are the large folios of Hamza Nama in which about a hundred artists worked over a period of fifteen years (1562-1577) to illustrate Persian tales of a rebel who is often identified with the uncle to the Prophet. Despite the Perso-Arabic location of the narrative, which also includes exploits of the hero in distant lands, the stories are totally set in the Indian context, with local flora and fauna, architecture, and dramatis personae derived from a variety of racial types. What is most significant is the fact that the collective nature of the work does not result in a cacophonic collage, but projects an image of multiple visions, each in relation to as well as independent from the others. For instance, the tenor of loud faience patterns matches the animated intensity of figures, keeping the spatial planes alive with resilient tensions. This reveals in some respects a quality of life 鈥� of living together of communities, each with a definite view of the world in dialectic interaction with the other. Difference is not a sign of disorder or disunity.