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Not all later Mughal pictures depict life at court. Shown here are two pictures from outside the imperial genre: one is a ragamala leaf and the other is drawn from the genre of ideal beauties. With the revival of humanism under Muhammad Shah, an interest in Indian literature could once again be found among Hindus and non-Hindus alike. The Muslim Nawab Alivardi Khan, ruler of Avadh between 1740-1756, commissioned several ragamalas. Ragamalas (garland of ragas), draw upon Indian musical modes (ragas) to verses and images, often personifications. Dipak raga is shown here as two lovers sharing an embrace. Dipak means "lamp" (and may embody a corruption in language, a common occurrence as musical modes traveled from region to region, for it is to be played at noon.) The Mughal painter has placed the scene at night, although no lamp is shown. Dipak raga is generally a powerful raga, here fueling the energies of love. The painting is signed "Faqir-ullah" on the wall on the left. The artist is known to have worked under Muhammad Shah and then to have left the capital.
This painting from the genre of ideal beauties, places its heroine in a spatial context. She stands on a terrace, edged by a railing, beyond which there is an expanse of activated sky. The palette of grays and whites, with color concentrated in textiles, is a later Mughal preference. The division of the painting into bands is another device of 18th century Mughal pictures. Attention to detail is of less interest to this artist than the visual conceit of seeing one thing through another. Note not only the care taken to find the color of fine salmon-colored cloth over bright green pajamas, but the appearance of foliage through the lattice of the terrace railing. << Back Explore the Paintings Next >>
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