Description
Specifications:
Watercolor on Paper
5.3 inches X 7.0 inches

The later Mughals were deeply curious about the religious art of the Christians. The pictures and engravings brought by the Jesuits were carefully studied by the artists.This monochromatic picture is loosely inspired by European models, the Mughal style having been modified as the radically different aesthetics and image of the West is absorbed. Standing next to the balustrade, holding a lotus is archetypal Mughal pose but the angle at which the head bends, the pointed chin, the downcast eyes are strongly reminiscent of the images of 'Our Lady'. Her attire is western; a shawl covers the head, falling behind the shoulders and brought in front over the forearms, exposure of the ample bosom is a surely Mughal characteristic; the fusion of the two styles blending in a manner to produce such a lyrical work.The artist seems content with his monochrome palette. He, however, adds a touch of pink to the flower and the flower-like lips.This description by Renu Rana.

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.

Lot 57.Our Lady of the Mughals

Go to lot
Online

Specifications:
Watercolor on Paper
5.3 inches X 7.0 inches

The later Mughals were deeply curious about the religious art of the Christians. The pictures and engravings brought by the Jesuits were carefully studied by the artists.This monochromatic picture is loosely inspired by European models, the Mughal style having been modified as the radically different aesthetics and image of the West is absorbed. Standing next to the balustrade, holding a lotus is archetypal Mughal pose but the angle at which the head bends, the pointed chin, the downcast eyes are strongly reminiscent of the images of 'Our Lady'. Her attire is western; a shawl covers the head, falling behind the shoulders and brought in front over the forearms, exposure of the ample bosom is a surely Mughal characteristic; the fusion of the two styles blending in a manner to produce such a lyrical work.The artist seems content with his monochrome palette. He, however, adds a touch of pink to the flower and the flower-like lips.This description by Renu Rana.

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.