000			02065nab a2200193 c 4500
001			myd_84474
003			ES-MaCDM
005			20241010081322.0
008			181003s2010 sp ||||fr 00| u|spa u
040			_aES-MaCDM
100	1		_aKalhoro, Zulfiqar Ali _9136708
245	0		_aRepresentations of music and dance in the islamic tombs of Sindh, Pakistan. _cALI KALHORO, Zulfiqar
260			_c2010 _aNew York: _bResearch Center for Music Iconography RCMI,
520			_aRESUMEN: During the Kalhora rule of the Sindh province in southwestern Pakistan (1681-1783), sepulchral architecture gained prominence and it is believed that tombs adorned with wall paintings have been at that time built throughout the province. The tombs of the Kalhora rulers were decorated with floral and geometric designs whereas the tombs of their generals and soldiers had the figural depictions. The towns of Khudabad and Garhi, and later the village of Mian Nasir Muhammad Kalhoro, were the main artistic centers not only for the production of wall paintings in tombs but also miniature paintings made for the Kalhora rulers. Besides paintings of representing traditional tales (Sassui-Punhun, Nuri-Jam Tamachi, Leila-Majnun, Sohni-Mehar, Leela-Chanesar, Moomal-Rano, and Bijal-Rai Dyach), tombs also depict the scenes from everyday life, such as images of entertainers, animal handlers, and battle scenes reflecting the tribal chivalry. The occurrence of dancing and music scenes provides an evidence about performances in the are since the eighteenth century. The images of musical instruments in the tombs in the Larkana, Thatta and Mitthi districts reflect the secular attitudes toward the religion, among both artists but also rulers who did not try to ban or remove them from funerary architecture although Islam prohibits producing figurative images.
650			_aIconografía musical _9114726
773	0		_tMusic in Art : International Journal for Music Iconography _081471 _wmyd_24697 _gVol. 35, núm. 1,Spring-Fall 2010, p. 201
903			_a84474 _b84474
942			_cART
999			_c121564 _d121564