Characteristics of paintings from jhangir rule
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Mughal painting during Jahangir:
It is generally stated that during Jahangir’s time, the art of painting reached its climax and with him departed its soul. Jahangir was not only interested in painting, he was also its keen judge. He established a gallery of painting in his own garden.
He wrote in his biography, Tuzuk-i-Jahangiri: “As regards myself, my liking for painting and my practice in judging it have arrived at such a point that when any work is brought before, me, either of a deceased artist or of those of the present day, without the names being told to me, I can say at the spur of the moment that it is the work of such and such man. And if there be a picture containing many portraits, and each face is the work of a different master, I can discover which face is the work of each of them. If any person has put in the eye and eyebrow of a face, I can perceive whose work the original face is, and who has painted the eye and eyebrows.”
This statement of Jahangir may be regarded as an exaggeration, yet we have to accept that the emperor was not only interested in painting but also a good judge of the art. Jahangir attracted many artists at his court. Painting became almost an industry with a fine regard for division of labour.
One artist drew the outline of scenes of men and animals; the specialist in landscape drew the background; the colourist filled the colours. Sometimes four or five artists worked on a single painting. European art also attracted Jahangir. Manohar and Basawan excelled in portrait painting, Mansaur specialised in painting rare animals and birds and Abul Hasan was expert in designing colour scheme.
It is generally stated that during Jahangir’s time, the art of painting reached its climax and with him departed its soul. Jahangir was not only interested in painting, he was also its keen judge. He established a gallery of painting in his own garden.
He wrote in his biography, Tuzuk-i-Jahangiri: “As regards myself, my liking for painting and my practice in judging it have arrived at such a point that when any work is brought before, me, either of a deceased artist or of those of the present day, without the names being told to me, I can say at the spur of the moment that it is the work of such and such man. And if there be a picture containing many portraits, and each face is the work of a different master, I can discover which face is the work of each of them. If any person has put in the eye and eyebrow of a face, I can perceive whose work the original face is, and who has painted the eye and eyebrows.”
This statement of Jahangir may be regarded as an exaggeration, yet we have to accept that the emperor was not only interested in painting but also a good judge of the art. Jahangir attracted many artists at his court. Painting became almost an industry with a fine regard for division of labour.
One artist drew the outline of scenes of men and animals; the specialist in landscape drew the background; the colourist filled the colours. Sometimes four or five artists worked on a single painting. European art also attracted Jahangir. Manohar and Basawan excelled in portrait painting, Mansaur specialised in painting rare animals and birds and Abul Hasan was expert in designing colour scheme.
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