Closing the year and this year-long journey with a painting of the goddess of knowledge and music, Saraswati. This Deccani painting was commissioned by the aesthete emperor, Ibrahim Adil Shah II, and painted by his master artist Farrukh Husain, around 1604.
This is just what I need on the penultimate day of 2022: a comfy throne, someone pressing my feet, food, drinks, and music on demand! I'll pass on the hukkah though!
Who doesn't love a daring escape, especially if there are elephants invovled! A prince has arrived on an elephant in the middle of the night to whisk away his beloved, who seems to be held captive in a Mughal fort (judging by the sandstone walls and marble balcony). Their loyal attendents / friends are helping, holding flames and candles to light the lovers' path.
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A portrait like this shows changing times, a place where traditions meet new ideas. While the portrait is still in the style of a manuscript painting, things have changed: the woman is evidently not a heroine or a nayika, she sits on a chair, usual gardens have given way to a strange lawn, and the horizon is a curve. The sky too is stylised differently. The painting is from Murshidabad and dates to the 1760s and is a part of a series that documented the household of William Fullerton in Patna. The painting was most likely made by Dip Chand.
This is a rather cheerful picture of a dervish- a Sufi- travelling with his dog, much like this one featuring a yogini. The painting appears simple- an ascetic wearing a patch-work cloak, with possessions that fit into a small bag- walking his dog in a wild landscape. The man and dog are portrayed in a conversation, the two are completely focussed on each other, and display a bond of love. The painting is playful, and beautifully drawn, from the dervish’s dreadlocks and bare legs to the dog’s perky tail!
This folio is from an illuminated manuscript, Jnaneshwari, made in Nagpur in the 18th century. The folio is divided into two parts, separated by text panels. All the figures are labeled and stylistically they're quite simple, but effectively convey the story. The bottom folio depicts a palace scene where Sanjay is in conversation with Dhritarashtra. Plush carpets and Dhritarashtra's fabulous throne catches one's eye. The lions on the throne are standing on their hind legs, almost caught mid-leap, full of strength and vitality. There is a certain tension in the king's posture as he clutches his sword and gestures to Sanjay, who supplies a running commentary to the blind king.
This is a circa 1630 painting made in Golconda, in the Deccan. The borders are opulent, and almost distracting from the central image!
This famous Mughal painting made around 1620 features the emperor Jahangir holding a small painting of the Madonna. This image is a small one, surrounded by breathtaking borders made in gold, and embellished with calligraphy. the Madonna was a popular theme explored by Mughal artists, along with other imagery brought to the court by travelling Europeans.
This folio depicts the Raga Malkos (or Malkauns) made in Kolhapur in the mid-eighteenth century and collected by the royals of Miraj (Junior) state.
Wada is a type of architecture found in present day Maharashtra, which like a palace or a haveli is a combination of domestic, ceremonial, and political space. Unlike a large Rajasthani palace, the proportions are smaller, hence cuter! We find a combination of the use of wood, stone, stucco, and later glass too!
Made in Sirohi in the early 19th century, this gorgeous textile is. convenient way to get all the “darshan” spots ticked. It shows the town of Shatrunjaya in Gujarat, a pilgrimage spot for the Jains, as a diagram. We can trace popular pilgrimage routes, important sites, and get a sense of the landscape. In this image, the centre is a temple dedicated to Adinath, built in the 13th century and follows pilgrims on different modes of transport.
This vibrant painting, full of colours and texture, was made in Golconda, between 1610 and 1620. It was collected in the "Johnson Album" and shows some of the most distinctive features of Deccani painting. The landscape has a life of its own, with stylised river banks, foliage, and rocks that borrow from Iranian painting. In the centre we see two figures, one on a horse, and the other on foot. The prince is hawking, and his handsome hound is at his feet, poised to chase any prey. Attention is paid to garments, details, and the buildings in the background. Of course, the golden sky and the Chinese-inspired clouds are absolutely eye-catching! The atmosphere is dream-like, so different from Mughal painting, and that is the enduring magic of Deccani paintings!
This is perhaps the most famous portrait by the Scottish artist, James Wales, made in 1792. The sitters are distinguished: Madhu Rao Narayan, the Maratha Peshwa, with Nana Fadnavis, and the two are waited upon by attendants. As one would expect in a royal portrait, the paraphernalia surrounds the ruler: an attendant with a flywhisk, a guard, a set of weapons (usually exquisite and deadly). The Peshwa sits on his plush gaddi and has a box (I suppose with paan in it) and a rosewater sprinkler in front of him, next to the dagger and Nana's sword. This indicates refinement along with acumen and strength to rule.
There is so much to love about this folio from the Salim Album. Starting with the folio margins where birds in colour fly about (they're such realistic studies) among foliage and fantastic(al) animals drawn in gold, on gold. I recommend zooming into details here. Cartouches of gold, blue and read frame the painting, and the top and bottom has inscriptions in a neat, artistic hand.
Some portraits are beautiful but they can also be misleading-- the inscription on this 17th-century image (mis)identifies the sitter as Maulvi Rumi, the poet. It is, in fact, the portrait of Mulla Shah Badakhshi, a Qadiri Sufi. He was very close to Mian Mir, and was one of Dara Shukoh and Jahan Ara's spiritual guides. He was quite influential and has been depicted in several Mughal paintings. We see the Sufi on a cushion, with a book at his feet and a leaning staff cast off to one side. the background has nothing but a series of dotted lines. The face, the outfit, the turban, and most importantly, the beard are extremely skillfully depicted, making this a breathtaking painting. There is a soft quality to the gaze, a hint of a smile and serenity around the figure. The Sufi was evidently quite accomplished in his practice, and very easy on the eyes.
It's that time of the year when you don't know what to make of the season because it is too cold for air-con, and too warm for a sweater! The Yogini in this painting has the perfect solution: a hand fan made of peacock feathers, and a loosely-draped shawl!
This portrait of Baba Bharat Singh was made in a Mewar atelier in the mid-eighteenth century. It depicts a portly man in the most amazing outfit-- stripped pajamas and a cummerbund -- that only accentuates his large stomach. Delicate pieces of jewelry and a soft expression only make him seem larger than life. He was implicated in a scandal and lost his position at court. This is probably why he's shown in very ordinary clothes, and a mournful expression, holding a small paan in his hand.
This is a startling painting of an unusual subject. Dressed in white, against a rust-brown-green background, with only a hint of the sky, this female Siddha carries her identity on her person. The markings on her forehead and the confidence in her stance confirm the mastery of her practice. The painting was made in the mid-18th century and is a brilliant example of how a simple image can be extremely evocative.
Chhatris or commemorative monuments tell us a lot about the people who commissioned them- their perceived identity, aesthetic ideals, and the legacy they would like to leave behind.
I love the mane on the mountain goat, and the glorious arches of his horns! The slight tiny and shade is all the artist used to bring the animal to life. The background is Persian mountains, in a beautiful shade of pink. The painting is likely to be pasted from a different album, suggests by the two rectangular patches on top and bottom. The border is lovely and with light colours, enhancing the quality of this 18th century Mughal folio.
