It can be argued now that Mughal painting ictamed some of the cardinal features of the traditions it was built upon while intioduung ne^v ones and discovenng many othci^ in the piocess that even in the most naturalistic of poi traits/ it emphasi/ed the prolsle for the viewer to complete the olhci half rhat it left faual expressions in a ten iton w heie emotions simmered on the surface but rarely brimmed over and never assumed diamahcdimax—wary illus 32 Artist Bichitr of an overspill which mi^ht obshuct the viewer's (detail of Tllus 30) paitscipatson thai the lefmement and connoisseurship, which became hallmarks of Mughal taste, had c tear, it removed antecedents, in theeailier /7^r/r \n earlier version ot this issav w^s delivered as the XVIIth Coomaraswam) Memorial I ecture at Lalit KihAkidLiri New Delhi in Maich 191^ It is included in Indian \it lorm^ C oiKern^ and De\ elopment^ n Hi^toriL tl l\ r^ptLtJM cdiLd D\ BN C,osnam\ K I'R New Delhi forthcoming \C)IIS AND RHFRiNCFS 1 Mir Sa\\id All ASni us Samad and pirhaps Dust (Muhammad) See discussion )n Dust and Dust Muhammad in Robert Skelton Innnn Artists in tru ^ervKes of Huma\un Hiima}un s ( jn/t77 P^ii\ Marg Pubiu itions 199^ 2 IheseaiC itspeitivcl\ thfc VIali jpuniiii] the kj/p^^ufr i the De\imahatm\i}, the Bhu^a\atapurana, k tr the A jlik ah 1^ tht s/A indtii 11' im i (I ubmgen) and W? 1/1 ndm js and the A// amdtn 7/77^ ^ This i tiers to eatable gums and colours dyes used tor skin and other ailments, herbs as food or crushed to obtain lolour or prepare medicine 4 lohn SeyJkr 0\crpaintmg in the ( lev eland Ii/fmjnhi Artibu^ A^iae Voi LII, 3/4 MCMXCII Mso b\ the same author Recycled [mages Ovt-rpainting in rariv Mughal Art in Huma\ un s (uiicftn jPtjrb Sityi) Doshi Islami<. I!(mcnts in Jain Manuscript Illustiations in 4n Agk of Splendoul h/cimio \rt in India Marg PubJi^ations 1983 o Ajanta \\as nc? morfc or !ess collective or individualistic than the examples cited here And for that matter a Hntoretto or a Caravaggio seen alongside the vast body of secondary' works produced iii the Renaissance and Baroque itudios would show the blurring of the indmdualistiL and collective boundaries °7 ^hc v\aiLng women of ^ikandarnama, or acrobatic dancer^ of the (Tubingen) Ham?cmama are far more perscma'iyed than their pr'ncipal counterparts In the remote past secondary images of jitaka in Ajania show considerable characten/atson Niimbers30-3]