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This lavishly illustrated book, the third and final volume in theseries Orchha, Datia, Panna: Miniatures from the Royal Courtsof Bundelkhand, deals with the third, fourth, and fifth periods ofBundelkhand painting, which spans the years 1635 through 1840.It begins with the Mughalizing painting styles that predominatedin Datia after the disintegration of Orchha in 1635 and the riseof Datia as an independent principality and major cultural center.It also addresses the development of Bundelkhand painting after1675, when Raja Chhatrasal established Panna as the capital of hisBundela kingdom. Bundelkhand painting ceased with the rajasdeath in 1731, and it was only after a long interruption that itexperienced an Indian summer at the court of Datia during theperiod of British suzerainty in the nineteenth century. However,the style of the latter era no longer bore a resemblance to theDatia and Orchha schools of the seventeenth century, but wasrather an offshoot of the prevailing MighalRajput styledeveloped by painters who had left Delhi in the second halfof the eighteenth century.Through stylistic analyses and interpretations of more than ninetypaintings from his collection, many of them published here forthe first time, the author provides a rich insight into the many andvaried developments of later Bundekhand painting.
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