The Desperate Passion (Bundi School)
Whether being attractive or erotic or attractive, Mughal art reigns over all possibilities in the world of illustrations. In this painting, Kailash Raj has worked his magic again by capturing a painting from the Bundi school which pictures a topless lass as she reclines over an iris purple divan that is imprinted with gorgeous golden patterns. She wears a baggy dhoti like skirt tightened with a white drawstring that is beautifully pleated thus revealing her henna colored feet which are festooned in golden bangles and beady bracelets, extending to reveal an elegant flower. Her neck is enhanced with a layered pearl opera that rest over her bare breasts. Her charcoal black curly hair beautifies her golden imprinted bangles that couple up with her aesthetic armlets. Her face is adorned with a sleek Greek nose and wide round eyes as her almond complexion is contrasted with her thin red painted lips and soft arched eyebrows. Her forehead is garlanded with a circular beady maang tikka and her splendid ears protrude with lovely pearl drop earrings as she holds a red and green tinted hukka with her mesmerizing style. She is surrounded by gold water vessels and cups that are complimented with symmetrically amazing steel blue balustrades and a dusty white background. Two splendidly carved doves fly over the open sky as a black sphere dominates the sky with a yellow aureole that surrounds it.The beautiful lass is accompanied by another lady who greets her as she bows down in the Namaste style. This lass appears to be much more mesmerizing than the one whose lying. Her countenance is etched with mesmerizing eyes and straight eyebrows that contrast her thin red lips and her charcoal black lock of hair that rests over her side burn. Her Greek nose compliments her ivory complexion as she shringhars herself with the same jewelry as the other woman except for pearl anklets and an aesthetic hand panja. Her silk royal blue dupatta imprinted with vertical golden lines fails to cover her bare breasts as she contrasts the tasseled dupatta with a long red and golden hued long skirt.This painting turns out to be the perfect match for those who love intimate artistry and even turns out to couple with your house walls thus attracting you with its bewitching beauty.
Watercolor Painting On Paper_x000D_
Artist: Kailash Raj
5.7 inch x 8.5 inch
The Mughal school of painting runs parallel to the Mughal dynasty. It came into prominence in the sixteenth century, during the reign of king Akbar. It reached its zenith under the patronage of Akbar’s grandson – king Jahangir. The reign of the latter’s successor king Shah Jahan saw its decline and finally under the unsympathetic Aurangzeb it breathed its last. Indeed, as a school of art, the duration of Mughal painting was a limited one, extending only over approximately two and a half centuries. Actually, it has often been referred to as not exactly a school, but rather an exceptionally brilliant phase in Indian art.
The roots of Mughal painting lay in Samarkand and Herat, where under the patronage of the Timurid kings, Persian art reached its apogee. Babur, a descendant of Timur, and the founder of the Mughal dynasty, speaks of a person named ‘Bihzad’ as ‘a most eminent painter’. It was with the descendants of Bihzad and the deep personal interest taken by Akbar, the grandson of king Babur, that the Mughal school of art started off with a flourish.
Regarding the aesthetics of Mughal painting, one exceptional feature is its commitment to realism or the delineation of likeness. The subjects were majorly drawn from the extremely rich and magnificent court life under the Mughals. That this was a flourishing art during Akbar’s reign is borne out by the list of more than forty painters found in a book written during his era.
However, it was under Akbar’s son Jehangir that Mughal painting gained its highest peaks. Not only portraits and hunting scenes, but also scientific studies of botany and natural history found favor with the artists under the king’s support. The Mughal painters were asked to paint unusual specimens of flora and fauna in their exact likeness. Some of these skilfully painted pictures have survived till today, narrating to us the uniqueness of those rich times.
Under the reign of Shajahan, son of Jahangir, the Mughal school of painting entered its decline. The actual treatment of the subject matter is replaced with more decorative embellishments like rich flowery borders etc. Under Shahjahan architecture scaled new peaks (Taj Mahal etc.), but painting deteriorated. Finally, with the rise of Aurangzeb, Mughal painting breathed its last.