Lot 60.The Beauty of Jewelry
Water Color On Paper
6.5 inches x 5.0 inches
The art of jewellery in India owes for its sublime development and nourishment much to the patronage of royalty. The luxury and splendour with gold and precious stones in the courts of Indian kings are proverbial.Ornaments that would make any woman happy to possess are painted on a staid ochre background. Jewellery has been a woman's best friend and every part of a female anatomy has an ornament to beautify with the head ornament that decorates her hair; one that falls gracefully over her forehead; the nose ring, the earrings, and as we go down, we see her hands with rings, bracelets, armlets; not to forget the necklaces that beautify her swan-like shapely neck. The feet that fall obligingly on the ground have toe-rings and anklets. All the above-mentioned jewellery items are painted, scattered on the pictorial space. Amidst all this richness is painted a Rajput king, mustachioed, wearing a stylized turban, himself laden with jewellery. A semi-circular strong line captures the image of the king, stops just short of disturbing the ornamental' beauty of the painting.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.
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