Ecstasy and Elation
Ranging from mujras to kathak, the Mughal period witnessed many amazing dancing styles. Dancing played a pivotal role in the Mughal lives and the thriving culture. In this painting, Navneet Parikh beautifully captures dancers and musicians in their own melodious fad. With a lovely scarlet red background, the watercolor painting is enclosed in a thin golden border that contrasts the eight illustrated people. The eight dancers sway with each beat as their cotton jamas are hued in exotic colors like amber, olive, white, baby pink and sea green. All of the dancers take up different postures to signify the nostalgic dance moves with their expert hand movements and look stunning with their ravishing royal held back Indic turbans and bright dupatta that they use as their dancing props.These dancers are accompanied by four musicians who play a bewitching music that entrances them. With splendid instruments like didgeridoo, bongo drum, drum and clarinet, the musicians passionately recreate their wonders every time onlookers cast their eyes over them. Two of the men in middle are adorned in crème white jamas and complimenting turbans whilst the bongo drummer is enveloped in a large dusty baby blue as he curls up on the ground. A sleek and strong figured man peeks as he is clothed in a breathtaking green jama while he plays didgeridoo with a glamorous stubble that hitches the spectators' breath.This painting is tinted in spectacular and vibrant colors as it displays the concept of ecstasy and elation, never failing to cast a spell on the onlookers. The splendid concept is gorgeously stroked in fabulous paint slashes, making it a must buy for all those who love multicolor artistic marvels.
Watercolor Painting On Paper
Artist: Navneet Parikh
24.5 inch X 16.5 inch
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.