Description
The clear green grassy background extending to meet the blue sky at the horizon represents its consonance with the delightful dance of the two nayikas. The white mughal empire with a beautiful garden in the front and a water fountain transmits an essence of purity and harmony lingered with the sweet aroma of dazzling rose flowers. _x000D_The two nayikas joyous by the pleasant environment dance together in perfect postures and expressions on the melodious classical rhythm of their choice; garbed in their best colorful attires of long printed dhoti half covered by transparent wraparound flying backwards and waist length top with unrepressed breasts visible from the free spirited stole flowing in opposite direction. _x000D_The colorful flowers, ducks and trees in the background form powerful yet harmonious attributes to highlight the ethos of the painting. All the elements contribute their parts to give it a harmonious and powerful picturesque.

Specifications:
Watercolor Painting On Paper
Artist: Kailash Raj
7.0 inch X 11.0 inch

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.

Lot 15.When All Elements are in Harmony

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The clear green grassy background extending to meet the blue sky at the horizon represents its consonance with the delightful dance of the two nayikas. The white mughal empire with a beautiful garden in the front and a water fountain transmits an essence of purity and harmony lingered with the sweet aroma of dazzling rose flowers. _x000D_The two nayikas joyous by the pleasant environment dance together in perfect postures and expressions on the melodious classical rhythm of their choice; garbed in their best colorful attires of long printed dhoti half covered by transparent wraparound flying backwards and waist length top with unrepressed breasts visible from the free spirited stole flowing in opposite direction. _x000D_The colorful flowers, ducks and trees in the background form powerful yet harmonious attributes to highlight the ethos of the painting. All the elements contribute their parts to give it a harmonious and powerful picturesque.

Specifications:
Watercolor Painting On Paper
Artist: Kailash Raj
7.0 inch X 11.0 inch

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.