Watercolor on Paper
10.5 inches X 13.1 inches
This work leads us into a world, which clearly bears a Mughal impress in its fluent naturalism, but is free of the pretensions and the aridity which had entered the Mughal work in the 18th century.Enthroned, playing a harp, the man is reminiscent of the early Christian portrayal of angels playing the harp. A simple crown rests on his head. The slim, long face and the facial features remind one of Persian impact small eyes, aquiline nose, the cut of the beard. The attire he wears bears a Roman imprint; the octagonal pedestal is purely Mughal. Hence, it is a pure amalgamation of various cultures. The Mughal art was unable to save itself from external influences.As much as the tactile quality of the upper garment is achieved, the folds of the lower one fall flat and seem unrealistic as compared to the other elements of the painting. The enthroned figure is isolated in the absence of any background embellishments. The pistachio green in the background compliments the jewel-like colours of the protagonist. The impression of the sky at the upper edge is commonly found in Mughal portraits.This description by Renu Rana.
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.