Description
Gypsies of India Series 1
A lovely water coloured canvas is illustrated to depict a stunning portrait of a Rajasthani women, whose countenance is painted in a golden almond hue with perfectly etched and contoured cheek bones that guard her wide Nubian nose. Ravishing laugh lines dig down her face as she grins from ear to ear revealing her shining white teeth that compliment her thulian coloured thin lips, twitching in a breathtaking smile. She blushes tangerine as her mesmerising eyes are captured with a bewitching glow that captivates the viewers in her beauty that is enhanced by her soft angled and unbrushed eyebrows.A delicate silver and midnight thread embroidered blood red dupatta drapes down her right shoulder as it covers her head. The cotton dupatta is embellished with a tantalizing violet gota that borders the pearl like tassels that hang from the dupatta. The petite lady is appareled in a Rajhistani tight fitting square neck shirt that is emblazoned with enthralling golden, sky blue and scarlet red floral motifs and eye-catching designs that are expertly carved on her purplish navy blue blouse.The glorious woman is festooned with a thin choker necklace that is merely a thick strand of strings adorned with a chain of white pearls, tightening around her neck and is beautified with vibrant tassels that hang down her dress. Her ears are concealed by silver beady jhumkas that dangle like tiny chandeliers matching her jasmine designed tikka that drapes through her parted hair with the white gemstones beaming in her dark complexion.This fabulous painting captures the shy yet elated Rajhistani lady who channels the love and happiness she has witnessed by her bright smile, making this charming piece a must buy on your shopping list as it narrates the perfect blend of exotic tints.



Specifications:

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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