From the sixteenth through the nineteenth century, ateliers at the royal courts of North and Central India produced paintings on paper or cloth for the delectation of the rulers and their immediate circles. This was a period of diversity in virtually every realm, and Indian court painting is usually divided into four major traditions whose milieus are defined in
terms of religion, polity, and geography: the Muslim kingdoms of the Mughals (centered in Delhi) and of the Deccani sultans (on the central plateau); and the Hindu Rajput kingdoms in Rajasthan (on the plains) and in the Punjab Hills. The history of each of these artistic traditions extends over several centuries and encompasses many small ateliers, all of which had their own evolving traditions. In this essay the intent is only to introduce
some high points of this vast panorama and to explore ways in which the elements
of its varied topography are joined.