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Hardcover. Condición: New. Contents: Preface and Acknowledgements. Part I: I. Introduction: 1. Provenance of Nandlal's Madhumalati. 2. The Date of the Manuscript. 3. Glimpses of Life in the World of Madhumalati. 4. The Principal Protagonists. II. The Narrative: 5. Prelude: (10-28). 6. The Naive Parrot (61-63). 7. The Tigress and… the Blackbuck, the Tiger and the Monkey (67-98, 176-230). 8. The Owls and the Crows (98-105, 150-153). 9. The Titodar, the Sea and Garuda (106-132). 10. The Crow and the Serpent (123-129). 11. The Swans and the Hunter (157-166). 12. The Crows Burn Down the Owls' Abode (168-175). 13. Krsna and Chandravali. 14. Karan Singh and Padmavati (275-335). 15. A Dialogue between Madhukar and Malati (337-362). 16. The Brahmin and the Ungrateful Snake (553-614). 17. A Mughal and the Oilman's Wife (658-690). 18. The Account of Maina's Sat (699-890, 928-940). 19. The Trader and His Wife (891-927). 20. The Cuckoo and the Parakeet (961-1008). 21. Chandra Kunwar and Ruparekha (1036-1076). 22. Chandrasen and Madhukar in Conflict (1084-1285). 23. Mahabharata Stories: Madhumalati version (1297-1424). 24. The Demon Todi, Hundwa and Bhima (1313-1329). 25. The Pandavas, Virata and Kichaka (1331-1380). 26. Bhima Poisoned; Revived in the Serpent World (1382-1424). 27. Chandrasen and His Ministers (1426-1498). 28. Urgano and the Serpents Vege and Anvege (1502-1643). 29. Haridatta, the Raja of Malijjapur (1545-1562). 30. Urgano (continued; 1563-1578) and Raja Amarasen. 31. Madhumalati Version of Ramayana Heroes (1675-1705). 32. The Cow and the Lion (1711-1779). 33. The Wedding and Celebrations (1801-1837). 34. Epilogue (1875-1889). III. Madhumalati in Miniatures: 35. Technique. 36. Landscapes. 37. Architecture. 38. Attire and Ornaments. 39. Portraiture. 40. Malati. 41. Heroines, Gods and Goddesses. 42. Battle Scenes. 43. Weddings. 44. Beasts, Birds and Bees. 45. Objects of Everyday Life. 46. The Mysterious Nayika. 47. Odds and Ends. Part II: Colour Plates. Bibliography. Index. Nandlal wrote and illustrated Madhumalati in 18th century Gwalior, to present a version of Chaturbhujdas Nigam's original composition dating from the mid-16th century. Madhumalati is an epic tale of amour in versified, vernacular text, singularly rich in folklore. Its story-telling remarkably transforms the incredible into the plausible and entertains the audience even as it critiques social norms. It is impossible to miss its central message of promoting harmony. Madhumalati fearlessly debunks conservatism, pomposity and class distinctions; appealing for avoidance and resolution of conflicts. The miniatures by Nandlal are charmingly illustrative of the narrative. These miniatures are independent of regal patronage and are rendered in a style that marries a popular, folksy oeuvre with the late Malwa-Bundelkhand painterly tradition of 18th century Gwalior (Central India). The illustrated manuscript resounds with the theme of love between Madhukar, the son of a trader (vanika) and Malati, a ksatriya princess.
