Mughal & Bengal School Paintings: A Detailed Analysis
Mughal and Bengal School Paintings
Kabir and Raidas
Title: Kabir and Raidas
Artist: Ustad Faquirullah Khan
Sub School: Shah Jahan period, Mughal school of miniature paintings
Circa: 1640 A.D.
Medium: Tempera on paper
Collection: National Museum, New Delhi
Subject Matter
This painting was created by Faquirullah Khan at the request of Dara Shikoh, who held the Hindu saints of his time in high regard.
Description
In this painting, Saint Kabir is depicted sitting beside his hut, weaving on his loom. His companion, Saint Raidas, sits nearby. Both are engaged in deep discussion. The painting captures the simple and peaceful life in Indian villages, where work and worship are intertwined. The hut and landscape represent the rural Indian setting. The colors used are shades of brown, and the border of the painting is blue.
The painting successfully employs refined rules of perspective in rendering the hut and the background atmosphere. Light and shade are expertly used to define the ribs of Saint Kabir.
Marriage Procession of Dara Shikoh
Title: Marriage Procession of Dara Shikoh
Artist: Haji Madani
Sub School: Oudh period, Mughal school of miniature paintings
Circa: 1750 A.D.
Medium: Tempera on paper
Collection: National Museum, New Delhi
Subject Matter
This painting depicts the marriage procession of Dara Shikoh.
Description
This magnificent painting is a masterpiece, brilliantly illustrating the marriage procession of Dara Shikoh. Two groups are shown: the bride’s party on the right and the groom’s party on the left. The barat (groom’s procession) is greeted by a large gathering of men, women, and young boys from the bride’s side. Fireworks, candles, and torches illuminate the entire composition with brilliant light and dark colors.
Prince Dara Shikoh leads the procession himself, wearing an Angrakha (traditional upper garment) and a veil of pearls. The bride’s relatives, dressed in heavily decorated golden clothes, stand ready to receive the wedding guests.
Hazrat Nizamuddin Auliya and Amir Khusro
Title: Hazrat Nizamuddin Auliya and Amir Khusro
Artist: Unknown
Sub School: Hyderabad, Deccan school of miniature paintings
Medium: Tempera on paper
Circa: 1750-70 A.D.
Collection: National Museum, New Delhi
Subject Matter
Hazrat Nizamuddin Auliya was one of the most renowned and influential Sufi saints of India. Amir Khusro was his disciple, known for his patriotism towards India. The painting shows Hazrat Nizamuddin listening to a Sufi song from Amir Khusro in a peaceful, green environment.
Description
Hazrat Nizamuddin Auliya, a leading Sufi saint of Delhi, is depicted in green clothes, tying a turban around his head, and sitting in a pose of deep thought. A yellow halo, resembling the sun, is shown behind him. His white beard adds to his distinguished appearance. To his left, Amir Khusro, a famous contemporary musician, sits on his knees, playing a musical instrument. His turban and angrakha are yellow ochre, and he wears a red waistband.
Chand Bibi Playing Polo
Title: Chand Bibi Playing Polo
Artist: Unknown
Sub School: Golkonda, Deccan school of miniature paintings
Medium: Tempera on paper
Circa: 18th century A.D.
Collection: National Museum, New Delhi
Subject Matter
Chand Bibi, daughter of Hussain Nizam Shah I of Ahmednagar, was a great warrior in Indian history who fought against the Mughal forces of Akbar. This painting depicts the interest of royal women of that time in sports.
Description
In the painting, Chand Bibi is playing polo with three other maids, all on horseback. The horses are drawn in different colors: red, yellow, white, and blue. Another figure on the ground may be directing the game. Two players are attempting to pass the ball with their polo sticks. All figures are centrally located, and the horses are shown in dynamic movement and are properly decorated.
Journey’s End
Title: Journey’s End
Artist: Abanindranath Tagore
School: Bengal school of paintings
Medium: Wash and Tempera on paper with water color
Circa: 1937 A.D.
Collection: National Gallery of Modern Art, New Delhi
The painting ‘Journey’s End’ was first published in the Bengali magazine ‘Prabasi’ and was acclaimed as a great piece of art. The pain and suffering of a burdened animal moved the painter, evident in the half-open eye of the beast. The picture is painted using a new technique that fuses the tempera technique of miniature painting with the Japanese wash technique. Red, brown, and yellow wash colors create the background, and the sky is filled with the diffused light of sunset. The foreground is painted in darker tones of the same color to intensify the sense of pain. A tint of blue marks where the animal is about to collapse.
Radhika
Title: Radhika
Artist: M.A.R. Chughtai
School: Bengal school of paintings
Medium: Wash and Tempera with water color on paper
Circa: 1940 A.D.
Collection: National Gallery of Modern Art, New Delhi
The painting ‘Radhika’ is drawn in profile, depicting Radhika as delicate and lovelorn. She delicately holds two lotuses in her hands. She wears a light-colored Ghagra (skirt), a red Choli (blouse), and a yellow Dupatta (shawl) in typical Indian style. Her braided black hair flows down her back, and her downcast eyes feature exaggerated eyebrows. The ornaments Radhika wears suggest delicacy, flexibility, and grace. A lamp with a stand, in the Mughal style, is on the left side of the painting. The lamp is decorated with a yellow and red wick, presenting a realistic image. The light from the lamp illuminates Radhika, giving her a touch of divinity.
Meghdoot
Title: Meghdoot
Artist: Ram Gopal Vijayvargiya
School: Bengal school of paintings
Medium: Wash and Tempera with water color on paper
Circa: 1940 A.D.
Collection: National Gallery of Modern Art, New Delhi
This painting is part of the Meghdoot series, based on the famous Sanskrit classic, Abhijananshakuntalam, written by Kalidas. The Meghdoot series consists of 50-70 paintings. In this painting, the cloud messenger, Meghdoot, is shown taking Yaksha’s message to his consort during the rainy season. The painting shows a clear influence of the Ajanta style with a Bengali impact. The drawing reflects calligraphic freedom and maintains the essence of form. The Yaksha is shown sitting in a knee-down posture in profile with a soft, smiling face. He has fluttering curly hair and doe-like eyes, holding wild flowers in his left hand. He has artistic fingers and long legs, and is shown writing a love letter in the midst of a vibrant forest, surrounded by nature in a happy and blissful mood.
Shiva and Sati
Title: Shiva and Sati
Artist: Nand Lal Bose
School: Bengal school of paintings
Medium: Water color on paper
Circa: 1947 A.D.
Collection: National Gallery of Modern Art, New Delhi
In this painting, Nand Lal Bose depicts the mythological theme of Lord Shiva and his wife, Sati. It is a dramatic depiction on offset paper using yellowish, brownish, violet, and reddish colors in various shades and tones. The background uses a light and dark combination of brownish and yellowish colors to represent the sky merging with the earth’s surface, creating an undulating shape through violet, brownish, and white colors.
In the center, Lord Shiva and Sati are prominently depicted in a sad mood. Shiva is shown sitting, looking helplessly at Sati’s faded face, stretching his arms to support her body, which lies on his left knee in an unconscious state, wearing necklaces, earrings, armlets, bracelets, and a light red saree.
Evolution of the Indian National Flag
One of the few insignias which no nation can do without is its National Flag – its identity and mark of pride. The first National Flag of India was hoisted on August 7, 1906, in the Parsee Bagan Square (Green Park), Kolkata. The second flag emerged in 1921 when Mohandas Karamchand Gandhi was at the helm of the Indian National Congress. The diameter of the wheel (charkha) should approximate the width of the white band in the middle. The ratio of the width to the length of the flag should ordinarily be two breadths by three lengths.
The significance of the colors is as follows:
- Saffron: Courage and sacrifice.
- White: Truth and peace.
- Green: Faith and chivalry.
- Ashokan wheel: The dynamism of peaceful change (work for 24 hours).
24 spokes in the Ashokan wheel represent 24 hours in each day. Navy Blue (Dharma Chakra) symbolizes Secularism, Trust, and Truthfulness.