Watercolor on Paper
5.7 inches X 7.7 inches
Any painting dealing with mother and child as subject matter invoke the viewer's tender feelings. The emotion and the bond between the two is pure and spontaneous, nothing can challenge the sanctity of their love.This monochromatic artwork is highly reminiscent of the Renaissance paintings decorating the churches of Rome. Mother Mary holding baby Christ in her lap, has been an inspiration to many an artist. The artist, aware of the strength of his draughtsmanship has intentionally inhibited colour from his painting. This is, in essence, a drawing, filled with deep emotion. The folds of the mother's clothes are dark in shade in contrast to the white of the baby's. The shading achieves a miraculous effect, the line being cubist in nature. She holds the baby lovingly close and looks at him tenderly. Like, mentioned above, there is no doubt about the emotions they share.While the entire drawing is in black and white, the lips are shaded in pink. They are trifle close to the nose, giving a larger space to the chin. The deft ability of the artist is apparent in the manner he has achieved the softness in the eyes. The seat of the sitting figure has been done away with, but the large folds of the clothes make up for it or help to conceal it ever if it was there.This description by Kiranjyot.
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.