The Gypsies
This lovely painting encapsulates the sad reality of the nomadic life of the gypsies. It encapsulates a tanned olive complexioned man with a long ducktail beard that hangs down his neck as his wide eyes compliment his Greek nose and protruding ears that go along with the thinly curved sideburns. He is appareled in a baggy and pleated amber tunic that is coupled with his short frilled dhoti revealing his blemished thighs as a peach pink creased satchel droops from his shoulder with its bow tied strap that tightens around his shoulder. The handicapped man takes hold of his dark brown crutch as a tin crafted syrup bowl trying to stand from his floral beige mattress with a dusty golden anklet that charms his disabled legs and an ersatz pearl necklace and ear tops, enhancing his neck.He is accompanied with a porcelain complexion lady embellished with an aquiline nose and amber painted drooping eyelids and wide round eyes that compliment her faded thin eyebrows as her downturned carrot orange lips that go with a curled strand of hair that festoons her face. She is clothed in an olive half chest crop top that reveals her cleavage, going along with her royal orange plicated and leafy green stripe emblazoned skirt short skirt that exhibits her gleaming golden anklet that clasps her talus as her lovely fingers are painted with fading henna.The lady’s neck is adorned with a stunning artificial gold and pearl choker necklace that combines with a draping double layered opera. Her fivehead is beautified with a bewitching bindi and an intricate maang tikka as her mendhika coloured hands are embellished with a set of fire yellow and shining silver bangles while she walk away with an unclothed child whose bodily features are beautifully designed to produce an artistic image, showing the lovely female child decorated in feigned pearl necklace, earrings and bangles as she is pictured with a mature face and thick long hair that go along with her stringed anklets and a scarlet red bindi that ornaments her.A leaf shed plant hangs at their back metaphorically enclosing the sadness in their lives, capturing all of it in a miniature painting making it a worthy and masterpiece in the field of art.


Miniature Painting On Paper

5.5" x 6.0"

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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