Description
The World is Symmetrical
Kailash Raj beautifully captures the Mughal culture of dancing which was regarded as a source of entertainment for nobles back then. He has worked his magic again with his amazing masterstrokes representing this important ancient practice. The painting is divinely blessed with a rich background a huge green plain that is beautified with multiple lush green twin trees that stretch across the distance as splendid marble white Safavid minarets protrude over its leaves. The beautiful landscape is contrasted with a small pond that is festooned with exotic lotus which float in the grey water along with the graceful swans, contrasting the two exact rectangular Mauriyan rock cut building which couple with the regularly aligned red roses and the luxurious and elegant water fountain.This painting is enclosed in an exquisite umber boundary that is emblazoned with gorgeous golden floral patterns, enhanced by an attractive splash designed mustard frame. It also exhibits a golden bronze complexioned woman who possesses a sleek Greek nose and light shaded round eyebrows that compliment her wide almond eyes and pouty lips as her contoured nasolabial fold emphasizes her countenance. The lady wears a lovely red churidaar that is imprinted with golden motifs which go along with her translucent drawstring waistband, embellished with eye-catching designs as it sways around her. Her diaphanous net dupatta fails to cover her bare breast revealing her upper body in a shamrock and golden hued surface. She is adorned in a vibrant pearl maang tikka and a red head passa that extends over her triple jhumka earring as her beautifully curled charcoal black hair lock enhances her nose with a crème white pearl stud. She wears a pair of gold and kundan tasseled armlets on each arm as she turns her hand in a divine dance style, going along with her golden and green tinted metal bangles. Her neck is emblazoned with a plethora of jewels as she wears a triple layered carcanet that couples over her splendid exotic stoned pendant and a brown beady opera that extends over her navel. Her henna colored feet are beautified with a rich pearl anklet, making her an attractive site to see. She is twinned with another lass who is illustrated to be her exact doppelganger however she wears a pink dupatta and a purple pleated churidaar.The painting turns out to be the perfect match for all historians and dance lovers making it the best wallpaper for your porch walls.



Specifications:

Water Color 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.

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