Art

cross-posted from: https://lemmy.dbzer0.com/post/54830045

Another of the mughal court painters. During Akbar's era. Around 1600.

Beautiful colours.

Alluding to his wisdom, this white-clad Jain monk carries a manuscript under his left arm, bound with a red cover. Otherwise he carries a Jain monk’s basic accouterments: whisk broom, staff, and pot.

This sensitively painted portrait was made for the collection of the Mughal emperor Akbar who was curious about the tenets of Jainism. He admired the explanations of the Jain monks who regularly attended the emperor’s weekly discussion sessions among members of different religious groups.

Inscriptions: This inscription has been partially erased. It may have been written by the Mughal emperor Jahangir, since it appears to be in his distinctively large hand. Four Jain monks whose name end in -chandra were prominent participants in the Mughal court: Shantichandra, his disciple Bhanuchandra, Jinachandra, and Siddhichandra. This portrait probably depicts one of them. Bhanuchandra was close to Akbar's sons, Salim (who became the emperor Jahangir) and Daniyal. Siddhichandra received the Persian appellation "Jahangir Pasand" (Jahangir's Favorite).

Btw calligraphy in eastern and particularly Muslim art is just as important an artform as the painting itself.

cross-posted from: https://lemmy.dbzer0.com/post/54829459

I mentioned fauvism to a fellow lemming and hence had to post smth by Matisse.

https://www.henrimatisse.org/bathers-by-a-river.jsp

Here's some words about the painting itself. Good read.

cross-posted from: https://lemmy.dbzer0.com/post/54773197

Lithograph. 1991.

cross-posted from: https://lemmy.dbzer0.com/post/54771505

And how could I forget my own Lemmy profile picture.

Selim and Zuleika.

https://en.m.wikipedia.org/wiki/The_Bride_of_Abydos Best read this.

Very worthy of a deep dive.

cross-posted from: https://lemmy.dbzer0.com/post/54771311

The greatest painter of loneliness ever.

Oil on canvas. 1808.

Much has been written about this. I can add nothing of value here. A single google search will get you a lot more

cross-posted from: https://lemmy.dbzer0.com/post/54768094

You can see the Danish and European style very clearly in contrast to my recent posts I'm sure. But we do end up with a beautiful image.

Personally I LOVE the Danish style of this era and Pederson in particular.

I'll stop now. I feel like I'm spamming this community now lol.

cross-posted from: https://lemmy.dbzer0.com/post/54767785

~1590 Opaque watercolor and gold on paper

The Kathasaritsagara (Ocean of the Streams of Stories) is a vast anthology of hundreds of folk stories and fairy tales compiled in Sanskrit by the Kashmiri poet Somadeva in 1063–1081. Derived from earlier literary sources, the embellished tales were told by Somadeva for the diversion of Suryamati (or Suryavati), the queen of King Ananta of Kashmir (r. 1028–1063). The text was translated into Persian by Mustafa Khaliqdad ‘Abbasi for the Mughal Emperor Akbar (r. 1556–1605), but only about a dozen illustrated leaves are extant. The known leaves are cropped and have the Persian text on the reverse.

This folio illustrates the story of the celestial nymph Somaprabha from Chapter 17 of the text. Born on earth because of a curse, Somaprabha is married to the merchant Guhachandra of Pataliputra (modern Patna in Bihar) on the condition that they refrain from sleeping together. Each night, however, Somaprabha mysteriously leaves the house to return at dawn. With the help of a charm given to him by a Brahman, Guhachandra gains the help of Agni, the God of Fire. That night, Agni and Guhachandra take the form of bees and follow Somaprabha. In the forest they discover her listening to heavenly music with another beautiful nymph. Agni advises Guhachandra to dally with a courtesan, which makes Somaprabha jealous and arouses her passion.

cross-posted from: https://lemmy.dbzer0.com/post/54766803

1920s

cross-posted from: https://lemmy.dbzer0.com/post/54766801

cross-posted from: https://lemmy.dbzer0.com/post/54765720

~1870 Five men dressed in traditional garments, performing the Indian mango trick with a mango plant, a wicker basket, and musical instruments.

I love playing with lines in composition and this piece does it well.

Ask me not what this trick is.

cross-posted from: https://lemmy.dbzer0.com/post/54765027

Kenneth Victor Young, Untitled, 1973, acrylic on canvas.

I've always been interested in . . . outer space, inner space, and the development of what occurs--force, magnetism, and that kind of thing.

cross-posted from: https://lemmy.dbzer0.com/post/54764812

Ink and color on paper. 1981

https://artsandculture.google.com/asset/two-swallows/AwFg1zlk4qWocg?hl=en_GB

I'm sorry for a google link but the info there about the painting and artist are great.

cross-posted from: https://lemmy.dbzer0.com/post/54763963

Contemporary art in Pakistan was a renaissance and there were many paintings depicting villages filled with devotion.

For A Song is a gorgeous piece that celebrates music, which was another key theme in Chughtai’s work.

The browns, maroons and whites are soft on the eyes.

The blurry hue gives this painting a dream-like feel.

The curve of the bodies and straight-edged lines of the building help create a dramatic masterpiece

cross-posted from: https://lemmy.dbzer0.com/post/54763963

Contemporary art in Pakistan was a renaissance and there were many paintings depicting villages filled with devotion.

For A Song is a gorgeous piece that celebrates music, which was another key theme in Chughtai’s work.

The browns, maroons and whites are soft on the eyes.

The blurry hue gives this painting a dream-like feel.

The curve of the bodies and straight-edged lines of the building help create a dramatic masterpiece

cross-posted from: https://lemmy.dbzer0.com/post/54763856

Omar Khayyam was a Persian mathematician, astronomer, philosopher, and poet.

Born in Iran, Khayyam made substantial advancements in algebra, geometry, and astronomy.

Chughtai was mesmerised by certain figures that had a notable impact on society and their respective fields.

He used his artwork to pay tribute to these idols, celebrating the nature of life and appreciating an evolving world.

cross-posted from: https://lemmy.dbzer0.com/post/54763816

The motif of a young woman contemplating the glow of a lamp is a recurring theme in Chughtai’s work, particularly in the initial three decades of his career.

The image can be interpreted literally: a solitary maiden sits, perhaps anticipating the arrival of her beloved or gazing into the flame while reminiscing about him.

This sentiment is echoed in a Ghalib couplet that Chughtai paired with a similar piece:

“She was waiting alone all night.

“Only the lamp kept her company and now the lamp has gone out.”

However, in the realm of poetry, the flame also serves as a metaphor for the beloved, symbolising the irresistibility of the object of their desire.

Ghalib is one of the most important literary figures in South Asia btw.

cross-posted from: https://lemmy.dbzer0.com/post/54763664

meticulous attention devoted to illustrating the architecture of the columns and their arches in the background.

Some of the most beautiful color work in the lahori oriental style. Hes a master of his craft

cross-posted from: https://lemmy.dbzer0.com/post/54763548

Portrays the enchanting presence of Rani Padmavati alongside her eloquent companion, the talking parrot Hiraman.

The early Mughal rulers Akbar and Jahangir were interested in fashion stuffs, carpets, and ornamental textiles. Both emperors had a penchant for inventing new names for garments and other clothing. Akbar is recorded as having ordered a new coat or dress with a round skirt to be tied on the right side. This jama may be a later version of the Akbari garment. Its lengthy sleeves would have been gathered up on the arm when the dress was worn. In a painting of Shah Jahan, he is seen to be wearing a similar garment tied with lappets on the right. He is also dressed in tight-fitting trousers, a colorful sash holding a dagger, and a bejeweled turban. Grandees of the realm wore similar clothing but dressed according to their rank. Sometimes individual nobles were given robes of honor by the emperor as a mark of distinction.

The met.

Why can't we have these again 😔 I wanna wear a Jama as my formal dress.

The strong sculptural traditions of pre-Islamic India continued to some extent during the later period, when figural elements such as this parrot were used as finials and other types of embellishment. The informal choice of subject and the simplicity of style suggest that this piece probably belonged in a provincial, rather than imperial, court setting. Ubiquitous in Indian life and often depicted in Mughal and Deccan paintings, parrots were also known in literature of the Mughal period, such as in the Tutinama (Tales of a Parrot).

The met

The primitive fur, the alms bowl, the flute, and the trance-like meditative state identify this figure as a dervish, or a sufi, a Muslim mystic who has renounced the material aspects of existence. The sense of abstract patterning in the fur and in the man's crossed limbs, combined with the distinctive palette featuring pink and sky blue, suggest an origin in the Deccan, possibly Bijapur. The invocation at the lower left, "Oh Prophet of the House of Hashim from thee comes help," referring to the prophet Muhammad, is in Persian.

The met

The magnificent four-tiered helmet that Suleyman wears was the centerpiece of a group of jeweled regalia produced by Venetian goldsmiths in conjunction with German entrepreneurs to sell to the Ottoman ruler. Modeled on the three-tiered tiara of the pope, this seemingly imperial headgear was meant to signal Suleyman’s right to universal sovereignty. Suleyman’s Grand Vizier, Ibrahim Pasha, may have collaborated on its design. He also orchestrated Roman-style triumphal entries that included staggering displays of the sultan’s wealth as a challenge to Habsburg rule. The diamond- and pearl-encrusted helmet was put on public display in the Doge’s Palace in Venice in 1532; this must have been the occasion that prompted the artist to draw a careful study of the helmet for this woodcut.

The met

Sitaram, the painter of this enchanting scene, was hired to record the travels of Francis Rawdon, the governor-general of Bengal between 1814 and 1821. The painting illustrates the Sang-i Dalan palace complex at Motijhil, Bengal, where the Rawdons traveled in 1817. The artist, working in the picturesque style, has chosen to depict the scene not by foregrounding the site’s majestic palace but rather by emphasizing a romanticized state of decay, with fallen debris from the nearby structures. In doing so, Sitaram creates a melancholic view suggesting a nostalgia for the Mughal Empire before the arrival of the British.