Page 18 - Art and Crafts of Bangladesh

PAINTING 15

This painting was two-dimensional and ornamental. The use of light and shade and
perspective was absent. The line was pure and smooth and the use of shining bright
enamel like colors was noticeable. During the early days of the Mughal style of painting
this formal influence was present but gradually the Indian artists assimilated it
sufficiently. At this stage, the local artists particularly accepted the purity of line and the
balanced use of stimulating colors from Persian art.
The composition of Mughal paintings developed through the use of complementary
colors in shapes distinctly divided by lines. The style of Mughal paintings is the
coexistence of many different colored planes, but the planes do not penetrate one
another or blend together. Again the areas are divided from each other by very fine and
distinct lines. During the last part of the sixteenth century the Mughal established a
relationship with the West through the Jesuit priests. Due to this and the love of art of
the emperors, the influence of contemporary European art, especially Flemish art,
became manifest in Mughal art. The gifts that were given by the Jesuit priests to the
Emperor included the illustrated Bible along with other paintings and similar items. The
illustrations in the Bible were copied by the Mughal artists due to the enthusiasm of the
Emperors. Local artists began to practice ‘scientific perspective’ with the intention of
creating depth in painting through the influence of the West. Moreover, there was a
noticeable effort made to create depth in objects by the variation of light and shade.
In the seventeenth century Mughal painting was able to come out of the sphere of
Persian art and acquired a character of its own. However, in this period the influence
of European paintings was manifest in the Mughal art of painting. As a result, it was
seen that the enamel-like bright colors in Mughal painting had started to become a bit
soft and dull. However, although the emperors had a great love and respect for western
painting, they were especially careful about their own artistic heritage. For this reason
it can be seen that, the Mughal Emperors were absolutely against the direct adoption
of characteristics of western painting in their own painting. If it was thought to be
necessary for something to be adopted, the emperors instructed the artists to assimilate
it and give it an Indian character. However, as a result of their reproducing and being
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in contact with European art, the work of Indian artists reflected western
characteristics in a natural and spontaneous manner.
In the last part of the seventeenth century when love for the West diminished in the
Mughal court, naturally the western influence also became weaker in Mughal painting.
On the other hand, due to the overall diminishment of enthusiasm of the court for the
art of painting in this period, the inner strength of this style of painting gradually
waned. As the birth and expansion of Mughal painting occurred under the direct
patronage and enthusiasm of the emperors, so the change in the taste of the patrons
directly influenced its characteristics. In the eighteenth century during the period of
extreme deterioration of Mughal central rule, Mughal painting lost the very ground
under its feet. To preserve its existence it spread out to the different provincial centers
of the Mughal Empire.