Man Eating Animals
The horrendous act of consuming uncooked and raw animals is perfectly captured by Kailash Raj who brushes over the canvas in an amazing style. He encapsulates an old sand and sable complexioned man with a wrinkled countenance which is decorated by a bony aquiline nose and round droopy eyes that are complimented by a thin strand of black high arch eyebrows, contrasting his bygone mien. A long Garibaldi beard hangs down his neck as his downturned lips part to exhibit his diastemic teeth.His protruding ears escape the cage of his shining white pleated Saurashtra turban that is interrupted by a thin dusty beige wooden stick which pops out of his head along with a snake like steel-grey rope that sways from his splendid pagri. He is appareled in a loose fitting crème white jama that hangs over his paunchy belly which is tightened by a thin waistband which captures a falcon designed and a white and steel blue hued sheath that guards the sharp dagger as a vintage styled cannibalistic pendant with iron jaws drapes down his neck.His dark right hand takes hold of the expired head of the mountain ibex which is portrayed with grey curled horns and lifeless eyes with his mouth that drops with the old shivering palms, while his other hand grasps the comparatively larger and upturned horns of a dead maya blue buffalo head accompanied by a dusty golden camel's skull, both of which are drenched in a white tray that is constantly oozing scarlet red blood. The copper brown background is ornamented with a sleek burgundy shaded khussa that is imprinted with breath taking floral designs, coupled with a white marble wine glass and a snow white pyxis. A privilege green shaded capacious water vessel and a remarkable teapot shaped milk holder enhance the ghastly backdrop.This painting is a deep reminder of the terrible culture of eating and skinning live animals, turning out to be a perfect choice and a plus point for those who love ancient history and amazing art.


Miniature Painting On Paper

Artist Kailash Raj

8.5 inches x 11 inches

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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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