Watercolor on Paper
10.5" X 7.4"
This photographic view of the Taj with seemingly limitless details spells magic. Taj, to begin with, is the most grandiose of a series of Islamic mausoleums.Pictures and paintings of the wonderful Taj are commonplace, but then we are talking about the frontal view. The artist here deviates and reduces Taj to a sub-theme. He takes a distant perspective, capturing the arches and the domes of the Masjid, not to miss the fin inlay work, which he must have achieved with deft strokes of a single haired brush.The Taj in the distance has the unequalled beauty that most paintings speak of the beauty of architecture and glam of pure marble brought out cleverly. If the Musjid seem austere and impersonal, then the Taj radiates with the warmth and love the emperor felt for his beloved.The clear sky in soft blue hues, bearing patches of white clouds, unsuccessfully tries to compete with the purity of the white marbled Taj. The vast expanse is furthered by the tiny human figures, painted purely for the sake of proportion and depicting a scale ratio.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.