Description
Bangles as a Token of Love
The royalties sit in a gesture of love and elegance, with the eye contact symbolizing their passion for each other. King garbed in fitted brown coat highlighted with multiple layers and a bluish dhoti that flows smoothly. His hand approaches his beloved as he has brought a bunch of bangles for her as a token of his infinite love. The queen in her vast green lehenga looks at the crowned head in a mesmerizing gaze, while he is busy adorning his wife with adorable bangles and a similar necklace ready to grace her neck. _x000D_Empty tea cups with a kettle and a hukkah on either sides of their room signify the quality time they had already spent and now the king surprises his wife with those priceless gifts. Both wear layers of neckpieces and matching earrings that complement the color and design of their garments. King’s green turban extends more at the back and the queen’s netted dupatta settled perfectly over her head with her long hair slithering on the visible thin waist that evokes inner sensuality in the king’s heart. _x000D_The gracious room stands out with a dull contrast to the bright clothes of the crowned ones. The two gold flower pots at the back exemplify the pure, bright and cologne love of these lovers; framed with thick flower motif border and the white net curtains gathered on sides with the window opened at the back to spread positive vibes arousing in the room.



Specifications:

Miniature Painting on Paper

14.5" x 10.5"



Mughal Painting

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.

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