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An interesting addition to the footnote in early modern cultures is the colophon.
The colophon frames the main text that precedes it, gives authorial information or a portrait of the author.Yet rather than give numerous examples of margin images in non-western art which seem to ape Camille's models of interaction, which are plentiful, it is possible to do a brief analysis of an Indian work of art that adds to the body of research, but redefines some of the parameters.
Margins also function as a place where an intriguing colophon was added to an illustrated book of poetry painted in India for the Emperor Akbar (regnal dates 1556-1605) by his son Jahangir (regnal dates 1605-26) in 1610.
This painting (reproduced overleaf) bears an interpictorial relation to the tradition of author portraits found in the frontispieces or colophons of manuscripts as far back as the thirteenth century and indebted to antiquity.6 The artist Dawlat shows himself on the left side of the image, in the process of painting 'Abd al-Rahim, the calligra- pher shown writing on a piece of paper on the right hand side.
As with European art, in Mughal painting the image on the edge is not a grotesquery but an intellectual conundrum that invites consciousness to do a number of twists and turns, perhaps the most dizzying of which is the fact that the margin of the book, the colophon, is not only the end of the book but alludes to its genesis, and in such a way that we both see it and read about it as the painted figures are described in the writing which accompany the images.
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