Indian Painting under the Mughals, A.D. 1550 to A.D. 1750 c19.17.1

c19.17.1

The attractions of this picture lie not in the general effect, which is somewhat confusing, but in the treatment of some of the groups, and particularly in the portraits of one or two of the individuals. As in the previous miniature, it is the spirit of vitality which is its main charm, and not a little of this is brought about by the natural and spontaneous action of the figures. What could be more expressive of energy than the mounted trumpeter with the red turban at the top of the picture, putting his whole soul into his performance, as if he felt that the eyes of the emperor were specially directed on him. Compare his vigorous pose with the stately step of the sword and banner bearers, or the scarcely suppressed excitement among the musicians in their effort to keep time among themselves and with the rest of the procession. But for an example of Mughal figure-painting at its best the trumpeter riding on the horse immediately below the elephant may be selected. A slightly enlarged reproduction of this figure is illustrated on Plate XLI, Fig. 2, and will show how the Indian painter could rise almost to the heights attained by Holbein in some of his character studies. The drawing, modelling, and expression of the face are exceptionally well rendered, while the colouring is equally meritorious.