During the 18th century, Faizābād and Lucknow became strategic centres of painting production in Northern India. Encouraged by the patronage of European collectors, but most probably by unnamed Indian patrons as well, the region experienced an intense period marked by the large number of albums and paintings in circulation. Based on the in-depth analysis of a selection of albums, paintings, and manuscripts, this article aims to highlight the evolution of compilation practices and painting productions. Full-page flower paintings, in particular, became increasingly popular in muraqqaʿ, to the point where calligraphic panels were completely replaced by colourful plants. Floral designs also appear in the margins, and the repetition of motives and patterns on several pages of different dimensions revealed an extensive commercialization based on a standardized production. In addition, the collections of European collectors such as Antoine-Louis Polier and Jean-Baptiste-Joseph Gentil bear the traces of commercial transactions between European and Indian collectors, as well as prices and possession marks. Together with their writings, correspondences, and memoirs, they bring new information on previously unknown Indian collectors, and more generally on the dynamism of the 18th-century book market.

在 18 世纪，法扎巴德和勒克瑙成为印度北部绘画生产的战略中心。受到欧洲收藏家赞助，但最有可能是未具名的印度赞助人的支持，该地区经历了以大量专辑和绘画流通为标志的紧张时期。本文基于对精选专辑、绘画和手稿的深入分析，旨在突出编译实践和绘画作品的演变。尤其是全版花卉画在穆拉卡（muraqqaʿ）越来越受欢迎，以至于书法面板完全被五颜六色的植物所取代。空白处也出现了花卉图案，不同尺寸的几页上重复的动机和图案揭示了基于标准化生产的广泛商业化。此外，Antoine-Louis Polier、Jean-Baptiste-Joseph Gentil等欧洲收藏家的藏品上有欧洲和印度收藏家之间商业交易的痕迹，以及价格和藏品标记。连同他们的著作、书信和回忆录，他们带来了关于以前不为人知的印度收藏家的新信息，更普遍的是关于 18 世纪图书市场的活力。