Lady on the Terrace

$165
Item Code: MC17
Specifications:
Water Color on Old Urdu Manuscript PaperWith Decorative Border, created with 24 Karat Gold Paint
Dimensions 7.0" X 11.3"
Handmade
Handmade
Free delivery
Free delivery
Fully insured
Fully insured
100% Made in India
100% Made in India
Fair trade
Fair trade
This excellent portrait of an oval faced extremely beautiful lady seated on a carpet on her terrace with a vividly composed landscape behind represents a wondrous amalgamation of Persian, European and Indian elements of Mughal era. Characteristics which marked the Islamic art of the 18th century when the Mughal empire was fast disintegrating overshadow this painting. It was a phase when Persian and Turkish elements were seen once again dominating the Islamic art in India, and the European elements all Islamic art anywhere. This effected a synthesis of the three art forms and though devoid of emotional integration and executional perfection the three sets of elements overlapped each other. The known Persian artist Muhammad Zaman, who rendered several good masterpieces including some Shah-namah illustrations around the end of the 17th century, is considered to be the pioneer of this art style.

This painting comprises of two distinct parts. The background, consisting of foliage, the river, colourful curls of clouds and the distant terrain sprinkled with towns and castles on its various levels is obviously a piece of European landscape. The second part, as if superimposed on this extraneous backdrop, sharply demarcated by the parapet of the terrace represents the Persian world of Islam. Not only the abundance of Persian blue, arabesques and interlocked merlons used for the carpet patterns but also the oval face, large bold eyes, raised rounded prominent neck, long thick black hair, marble like glowing complexion, tall build and above all her tight fitted costume with broad floral prints belong to the world of Persia. In the 18th century version of this painting the artist exposes a little of figure's breast from between the scarf suspending on her neck and the collar of her gown and uses it for enhancing her feminine charm. The changed modesty norms disallowed the artist to do so in this painting.

Arabesque, merlon, geometric and floral patterns have roots in Persian art but were widely used in Mughal art and architecture. Perspective effects constitute European element. A narrow frame defined by a broad gorgeous border rendered in gold with floral designs and lively frisking deer, beautiful calligraphy with intermediary spaces inlaid with gold and precious gems are features characteristic to Mughal art. .

This description by Prof. P.C. Jain and Dr Daljeet. Prof. Jain specializes on the aesthetics of ancient Indian literature. Dr Daljeet is the chief curator of the Visual Arts Gallery at the National Museum of India, New Delhi. They have both collaborated on numerous books on Indian art and culture.

Persian art is resplendent by its strong decorative sense, two dimensional patterning and lively coloring. This painting is indeed representative of the highest aims of Persian art. The basic aim of which is to create an ideal world. This is what imbues it with underlying harmony and lyricism.

We realize the picturesque beauty of this painting at first glance. The portrait of a Persian woman seated on a terrace is sheer verse in visual form. This robust woman is adorned in a splendidly patterned, tight fitting costume. Her noble bearing is evident not only by the clothes but also by the graceful and languid manner she is seated. There is a sense of hedonism in the curves of the form, suggesting a gentle, sublime mood.

A distant perspective covers not only the abundant foliage, but vistas sprinkled with towns and castles and a wide skyline. The shapes and colors of the clouds in the horizon distinctly show a Chinese influence but also add to the aura of poetic make-belief. There is a feeling of certain softness in the natural setting, as the various planes of the landscape depicted are carefully composed.

There is a floral border encompassing the picture, followed by marginal decorations which exalt the overall effect. The selection of a doe, a sensuous animal, and that of exotic flowering plants to decorate the margin is intentional as it adds to the sensationalism of the picture; a picture that can easily exist in the minds of poets, painstakingly depicted here in color.

This description by Renu Rana.

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