This painting reminds us of the beautiful courtship love where the princess waits at the window just to have that one single sight of her prince charming. Pictured in a royal kingdom, the handsome prince comes on his royal elephant to give the red rose as a small token of his infinite love for his beloved, who seems to be waiting for his gesture for a long time while sitting in the balcony and her 2 courtly daasis stand on the either sides as watchwomen, so that no one in the kingdom sees the heavenly couple playing hide and seek. _x000D_In the presence of her prince charming, princess’ gestures seem to relax with that sweet smile on her face indicating her fearlessness even by the dark stormy sky. The prince comes attired in the best of his garments that shine bright even at a far sight, to allure the princess, who is not able to take her eyes off him. Even the beautifully decorated and jewelled elephant stands in that benevolent smile on experiencing the lovely gaze of these pure lovers. _x000D_The painter has amazingly framed this painting in a contrasting sky blue shade with shining golden flower motifs and the essence of his thought can be easily identified by the scene depicted in this beautiful painting.
Watercolor on Paper
9.5" x 12.5"
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.