Indian Painting under the Mughals, A.D. 1550 to A.D. 1750 c20.63

c20.63

The Mughal painter’s skill, however, was not confined solely to the features. It is observable in the pose of the head, in the suggestion of the figure under the draperies, but particularly in the drawing of the hands. In all Indian art the pose and expression of the hands has received special attention; in the Buddhist frescoes this is very noticeable, while with the Hindus the *mudrā*, or symbolism of the hands, is a deep study, as revealed in much of their sculpture and painting. The same appreciation of the character underlying these members animated the Mughal miniaturist, and he made good use of it in his portraiture. Whether they are shown grasping a sword, toying with a flower or a piece of jewellery, holding a hawk, or merely placed one over the other, the result, when produced by a good painter, is always pleasing. He puts into the drawing of the hands a certain distinguishing quality, in some a nervous sensitive feeling, in others suppleness or muscular strength, using one or the other as an aid to express the character of his sitter. The final test of a good Mughal miniature lies in the treatment of the hands. But undoubtedly the outstanding feature of most of these portrait pictures is the colour, for which the artist depended mainly on the richness of the costume and the head-dress. The garments of the upper classes were fashioned out of the *kinkhābs* or cloths of gold for which the Indian weaver was famous; these had schemes of mauve and apple-green, rose and orange, which a free use of gold blended into a luxurious harmony. Surmounting the head was the plumed and jewelled turban which, with the pearls and jewelled ornaments around the neck, the artist employed with considerable effect as a foil to the delicate painting of the face. As a background he added a golden-green wash, changing at the upper edge of the picture into what obviously purports to be a purple and gold afterglow. The figure stands stiffly in the centre, posed on a small garden plot, or green sward, which occupies the lower part of the miniature. A few flowering plants are sometimes introduced, with the intention of breaking the formality of the composition, but the simplicity of the background contrasting with the richly apparelled figure is evidently the artist’s underlying idea.