Page 17 - Art and Crafts of Bangladesh

14 ART AND CRAFTS

At the end of the eighteenth century the wooden book covers strongly manifested
many characteristics of Bengal’s popular patachitra. During this transformation the
wooden book cover artists of Vishnupur made an effort to preserve the heritage of this
painting in a different medium named Dashavatar Tash. The wooden book cover
painting is a very unique treasure belonging to the heritage of the painting of Bengal.
The selection of themes, the formal ideal and the artistic taste in this form of painting
reflected the mentality peculiar to the Bengali.

The Murshidabad Style
When in 1576 AD Bengal became a part of the Mughal Empire during the reign of
Emperor Akbar, the ground was prepared for the arrival of the Mughal artistic style of
Delhi. It is to be mentioned that Mughal miniature painting was a special achievement
for its contribution to the history of the fine arts of India. Through the combined effort
of Persian and Indian artists this secular form of painting derived inspiration from
Persian, Indian and western artistic styles and fashioned an intellectual artistic sphere.
Even when Bengal was amalgamated into the Mughal Empire, Persian influence was
naturally present in the court art of this region. These artworks existed up to nearly the
eighteenth century with a character which was discordant with the surrounding
environment of Bengal until the beginning of the eighteenth century (the year 1704)
when the capital of Bengal was transferred from Dhaka to Murshidabad. Murshidabad
then grew to become the socio-economic and cultural center of the whole of Eastern
India. In this context during the rule of Nawab Alivardi Khan (1740-56) a form of art
with unique characteristics was born in Murshidabad. This form of painting having a
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well-organized and controlled style dominated by cool colors gained recognition as
the Murshidabad style of painting. In this context, it should be mentioned that the
central artistic style was followed in the capitals of the Mughal Empire. It was mainly
fig. 1.6 Murshidabad due to the amalgamation of the local forms with the central style that the local Mughal
School, 18th century styles were born.
On the other hand, Mughal art proper
was itself a successor of Persian art.
However, through the assimilation of
quite a few characteristics of traditional
Indian art forms and contemporary
Western art it built an artistic style very
much its own. Although this art form
arose drawing inspiration from foreign
artistic styles, in the end Mughal art
became a part of the traditional art of
India. The primary character of Mughal
painting was formed under the shadow
of the Safavid style painting of Persia.