Gypsies of India Series 4
This painting displays a beautiful contemporary art, capturing the portrait of a Rajasthani woman encapsulating her elegantly, with every minor detail. The distinctive rhythm is highlighted with the bold emphasis of lovely bright tints. It portrays an olive dark complexioned lass in her mid-40s, as her watermelon pink down turned lips twitch slightly into a smile, revealing her crystal white teeth and a dark mole that sets over her chin. Her face is adorned with a crooked aquiline nose and fabulously round almond eyes that are complimented by her sharp hard angled eyebrows.The stunning woman is heavily emblazoned in jewels. Profound of mostly silver jewelry, her wrists are enveloped in crème white ivory plastic bangadis that are stained red as they extend over lovely dangling amulet like bracelets. Her fingers are enhanced with lovely rubber like rings that are made prominent by a gleaming tassel-like silver ring. A charming black and silver beaded hansuli grasps her neck beautified with an aesthetic blue threaded timaniya that holds a golden rectangular pendant. Her circular shining maang tikka reveals a white streak of hair, going along with her silver jhumka earrings that are coupled by a golden nose ring which stretches to form a long intricately designed cord, extending back to her charcoal black unkempt hair.She wears a dusty Carolina blue cotton kanchli that is embroidered with vibrant thread imprints, forming over lovely floral motifs and stripe patterns. Her matching scarlet red dupatta is blessed with the same gota patti work, giving it an ethnic touch, thus contrasting the choli's deep neck that reveals her cleavage. This painting is the perfect exhibit of the Rajasthani culture, depicting the love of Shringhar and fashion in the women. It is not only of great importance in their culture but has an even deeper religious meaning. It turns out be the quintessential match for all art lovers as it is the ultra modern blend of culture and craftsmanship.


Water Color Painting On Paper

8.7 inch x 12.3 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.

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