Noble Lady Holding a Jewel
Navneet Parikh registers the best art ever witnessed with his lovely painting of a sophisticated kalahari sand complexioned woman with mesmerizing upturned eyes that are complimented by her prominent high arch eyebrows. Her plump face is divinely carved with a Greek nose and small thin lips that remark her vague jawline. The lady's forehead is wide with a congenital receding hairline that makes it a perfect surface for the stunning pearl and gem maang tikka that droops as it hangs downwards. Her straight henna colored hair is adorned with a thin belt matha patti that extends to conceal her protruding ear with bilayered and floral gemstone drop earring that is festooned with Kundan pieces. Her cleavage is carefully concealed with a heavy show of valuable jewelry as her neck exhibits a brown ersatz stone choker necklace coupling with multilayered operas that are emblazoned with pearls and gemstones.Her delicate henna painted fingers hold a leaf designed bijou that is painted lapis blue, enhancing the beauty of her golden, purple and silver bangle sets as a fabulous armlet tightens around her bare arm skin. The lass is appareled in a plain pale honey shirt that is engulfed in her translucent chiffon dupatta with round sequins that cast shadowy designs on her choli top shirt. The lady has a jade color aureole of illumination that sets in her intricately and remarkably carved pillar background which is contrasted with the gorgeously vibrant black jade and scarlet red carpets that are embroidered with thread hanging tassels.This awestriking artistry is the perfect depiction of a lady who shows herself to be strong yet is in dire need of love. This can be derived by her grim expressions, yet she holds a jewel which is a sign of her wanting to seek beauty to attract people, however, she is unknown to the fact, that she in herself possesses a lovely mien that is not dependent on someone to explore it, but only her to realize this fact. Turning out to be a total package of self love, this painting acts as a constant reminder of not giving up on one's own self.
Watercolor on Paper
Artist: Navneet Parikh
10.2 inches X 13.5 inches
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.