#Paintings. Opaque Watercolours Gold

[salderi]

Krishna steals the clothes of the Gopis Kangra

Pahari, circa A.D. 1800 (Himalayan)  Paintings. Opaque Watercolours, Gold

[bmpmp3]

ANOTHER REVENGE Nour for littlexghost!

[xpuigc-bloc]

A DECCANI MINIATURE AT OLIVER FORGE & BRENDAN LYNCH

An Illustration to a Romance Written in Deccani Urdu, the Gulshan-i 'Ishq (Rose Garden of Love) by Nusrati, Court Poet to Sultan 'Ali Adil Shah II of Bijapur (r.1656-72 A.D.):

Angels descend from the heavens to visit a princess

Deccan, India, circa 1700-20

Opaque watercolour on paper heightened with gold and silver

Miniature: 22.3 by 14.4 cm.; 8 ¾ by 5 5/8 in.

Page 39.5 by 23.5 cm.; 15 ½ by 9 ¼ in.

“This painting was bought by an English collector, Mr. and Mrs. Jeremy Lloyd, one of seven offered at Christie’s in 1979,” explain the dealers. “In 2010 the Lloyds asked us to sell their collection and, via our Asia Week New York 2011 catalogue, we were able to establish not only the great significance of the manuscript from which the painting comes, but that of this particular painting.”

The unique design and palette of this evocative Deccan night-scene painting dramatically contrast the cascade of colour heralding the descent of the angels with the monochrome world of the cool, silent, moonlight-suffused palace. This is probably the finest page from what is unquestionably the finest Deccani manuscript of the period, outstanding for its calligraphy, its superb technical accomplishment and its poetical fantasy. The unpublished colophon (Christie’s, 1979) notes that the work was written by an unnamed author who ‘lived during the reign of ‘Ali ‘Adil Shahi, under whom I grew prosperous’. This would be ‘Ali ‘Adil Shah II of Bijapur (b. 1637) who ruled 1656-72 A.D., although there was no indication of a royal patron for the manuscript.

The painting was acquired by The Metropolitan Museum of Art, where it is currently on view in their Islamic Art galleries.

#Deccan, India, circa 1700-20

#Angels descend from the heavens to visit a princess

#OLIVER FORGE & BRENDAN LYNCH

#indian art #original art #antique art

#art #xpuigc

[arthistoryanimalia]

More for #InternationalZebraDay: Ustad Mansur (fl. 1590-1624) Zebra, 1621 painting, opaque watercolour and gold on paper Mughal Empire (India) Victoria and Albert Museum

"presented to the Mughal emperor Jahangir by Mir Ja'far who had acquired it from Turks travelling to the Mughal empire from Ethopia"

Previously identified as a Burchell's Zebra (Equus quagga burchelli).

[mybeingthere]

The Lovers by Riza-yi `Abbasi, A.H. 1039 / A.D. 1630.

Opaque watercolour, ink and gold on paper,

6 7⁄8 × 4 3⁄8 in / 17.5 × 11.1 cm,

The Metropolitan Museum of Art.

“The artist Riza‑yi ‘Abbasi revolutionized Persian painting and drawing with his inventive use of calligraphic line and unusual palette. He painted The Lovers toward the end of a long, successful career at the Safavid court. The subject of a couple entwined reflects a newly relaxed attitude to sensuality introduced in the reign of Shah Safi (r. 1629–42). Here the figures are inextricably bound together, merged volumes confined within one outline.“

[ranarh]

Autumn Bounty

I drew a series of similarly composed images in autumn last year and am still painting all I liked. Here, autumn is a motherly type wrapped in golden oranges, with the squirrels and cats chasing each other in eternal circles at her feet. The hawthorne crown presented a drawing challenge in watercolours; when I would've otherwise painted them later on with opaque paints, now they needed to be well-defined going in. In that regard, my watercolour training is also drawing training. I unapologetically used Hookers Green, Autumn Red, and Quinacridone Gold as pure as I could here because I really liked how saturated they were and how well they matched (of course I mixed too, mostly with burnt umber). I went too dark on her face; I rubbed off most of it with a magic eraser, waited until dry and covered the area in watercolour medium because the smooth Bristol paper had become quite soaky there. It went well after that.

A3, watercolours on paper.

[globalworship]

Maryam and Isa in Two Persian Paintings, 17th Century

These two Safavid Persian "miniaturer" paintings depicts Mary (Maryam) and Jesus (ʿĪsā), as indicated by the inscriptions on the originals.. They date to the late seventeenth century and are attributable to the Safavid painter Shaykh ‘Abbāsī, whose works range between 1650 to 1684.

The Safavid dynasty was a Persian dynasty that ruled Iran from 1501 to 1736. Ismail I founded the Safavid dynasty. He was a leader of a Sufi order, a mystical branch of merchant activity that spread Shi'ite Islam.

Mary has a crown of flames in both paintings, and Jesus in the first. "Almost all Islamic artists depicted Jesus with a crown of flames, the symbol of a prophet. But some chose to depict Mary with a crown of flames as well" sincce some Islamic scholars gave the title of "prophet" to Mary in addition to Jesus. https://publicmedievalist.com/mary-islam/

The painting is executed in opaque watercolor and gold. The blue, pink, and purple borders with illuminated floral motifs probably date to the early 19th century. https://www.thedigitalwalters.org/Data/WaltersManuscripts/html/W668/description.html

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opaque watercolor, ink, and gold on paper, Iran H: 11 5/8 x W: 7 1/2 in

The current blue, pink, and purple borders with illuminated floral motifs (below) probably date to the early 19th century. https://art.thewalters.org/detail/84294/mary-and-jesus/

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The term miniature suggests a tiny painting but in fact indicates a style of watercolour work similar to early European book illustrations which used the red lead pigment minium. Some Indian and Persian miniatures are quite large. https://en.wikipedia.org/wiki/Minium_(pigment)

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For further reading on the historical and religious contexts of these paintings, I recommend these two articles. I will feature some of their paintings in future blog posts.

The Virgin Mary in Medieval Islam https://publicmedievalist.com/mary-islam/

Madonna, Christ and Mughals Paintings https://ranasafvi.com/christian-art-under-the-mughals/

[hinducosmos]

Vishnu and Lakshmi on Garuda

Artist: Accha Ram. Bikaner, 1675-1700 Opaque watercolour with gold on paper 28.7 by 20.5cm.

Forge and Lynch wrote : The legendary "King of the Birds", Garuda, carries Vishnu and Lakshmi across a landscape of trees, with a white marble palace enclosed by fortress on a hill in the distance. The painter Accha Ram has depicted Garuda boldly with vibrant red and green wings and a magnificent crown. Despite his obvious skill, there is very little is known about Accha Ram, with on three other known recorded works by him - one of which is in the Ashmolean Museum, Oxford.

This extraordinary painting reflects both Rajput and Deccani influences, the latter seen in the trees at either side and the landscape across the top. In the seventeenth century two of the desert state of Bikaner’s maharajas fought with their armies in the Deccan, in successful campaigns for the Mughals. Records reveal that they brought back both paintings and artists and this led to a flourishing and highly original school of painting at Bikaner.

www.forgelynch.com (via Instagram: Forge and Lynch)

[meredithhunnter-blog]

Krishna steals the clothes of the Gopis Kangra, Pahari, circa A.D. 1800 (Himalayan)  Paintings. Opaque Watercolours, Gold

[dontforgetyourmedstoday]

[image description: a watercolour painting of a cloudy sky, the clouds are grey but tinged gold by the sun. An opaque rectangle overlays the image and contains text which reads “Don’t forget your meds today.”]

Don’t forget your meds today.

Want twice daily reminders to take your medications? Follow @dontforgetyourmedstoday​

Questions? Requests? Or you can Submit a reminder of your own.

[molkolsdal]

MUGHAL MEN ADMIRING THE MIRACULOUS ICE LINGAM AT AMARNATH

Place: India, Agra

Date: ca. 1600

Materials and Technique: opaque watercolour and gold on paper

Probably intended for an album made for royalty or nobility of Mughal India (1526–1858), this small painting represents a visit to the Amarnath cave, a Hindu shrine located in the Himalayan mountains in Kashmir. Wearing turbans and knee-high coats, three men stand around a natural ice lingham (stalagmite) that the artist has placed outside the cave in an act of artistic license. Some of the men stretch their arms, pointing at the lingam, while others stand with their palms open in supplication. The two men on the upper right and left of the stalagmite place their fingers to their mouth, in a gesture of awe and wonderment. According to Abu’l Fazl (1551–1602), court historian to famous Mughal emperor Akbar (r. 1556–1605), the cave was an ancient Hindu site that attracted many pilgrims who would come to worship the lingam. These pilgrims recognized the ice stalagmite as the image of Mahadeva, the great god Shiva, and believed that the lingham had the power to answer their prayers. The site is still active today as a pilgrimage destination for both Muslims and Hindus.

In his description of the Amarnath cave, Abu’l Fazl remarks that the lingam changes according to the seasons and the moon: “When the new moon rises from her throne of rays, a bubble as it were of ice is formed in the cave which daily increases little by little for fifteen days till it is somewhat higher than two yards, of the measure of the yard determined by His Majesty; with the waning moon, the image likewise begins to decrease, till no trace of it remains when the moon disap­pears.” [1] In the painting, the radiating sun, the snow-covered mountains, and the melting ice water on the column may allude to the summer season in Kashmir, when the Amarnath yatra (religious festival or procession) occurs.

The Mughals, a Sunni Muslim dynasty that came from Central Asia to North India in the early 16th century, supported political tolerance to the multiple ethnicities and religions within their empire. For reasons of religion, expediency and intellectualism, Emperor Akbar initiated a policy of sulh-i kull (“peace with all”) that made coexistence within India feasible. Both emperors Akbar and Jahangir were interested in other spiritual practices, especially of yogis and ascetics. After Akbar annexed Kashmir in 1586, he visited some of the holy men living in caves in the area. His son and successor, Jahangir, continued to cultivate relationships with yogis and dervishes alike. Although there is no historical record that Akbar or Jahangir visited this cave, they seem to have known about it and the yatra practice.

The Mughals believed that supporting mendicants, ascetics and holy men maintained the equilibrium of society and the world. These ideas were directly linked to Akbar’s and Jahangir’s policy of sulh-i kull and the administration of justice by preserving balance among diverse ethnic and religious groups. This painting can be viewed as a visual affirmation of Mughal ideology, openness and curiosity toward India’s diversity.

— Mika Natif

[indianminiaturepaintings]

Radha and Krishna Painting ca. 1780 (made)

Details:

Painting, opaque watercolour on paper, Radha in a gold-colored skirt and bodice with a transparent red veil sits embracing Krishna on a bed of plantain leaves. In the background are a grove of trees, one with pink flowers, another entwined by a thick creeper. Egrets and plantain trees are seen on the bank of a stream filled with red lotuses and leaves.

[heaveninawildflower]

1) Heart’s Ease

2) Corn Poppy

3) Cornflower

4) Red Catchfly

5) Iris

6) Borage

7) Snowdrop

8) Dandelion

9) Foxglove

10) Autumn Buttercup

More botanical illustrations taken from ‘Book of Flower Studies’ (circa 1510-1515) by Master of Claude de France.

Opaque watercolour, organic glazes, gold and silver paint, iron and carbon-based ink and charcoal on parchment.

Images and text information courtesy The Met.

[11melons]

"Prosper" - Watercolour painting

Before I started the painting, I created a quick digital concept so that I could easily work out the composition and colours of my painting. Initially, I was only going to have the girl as the main subject, but as I thought the painting would be too empty and not have enough impact, I decided to add the fish flying around her.

For the composition of the painting, I used the rule of thirds, placing the girl on the second vertical line and in the bottom two-thirds of the painting. The biggest fish is also placed on the top left of the painting to balance it out. Additionally, I created a dynamic line of action with the direction and positioning of the small fish from the bottom right corner up to the top left corner and then back to the girl, which also adds more impact and draws attention to the girl as she is the main subject. The line of action also cuts the painting in half diagonally, creating an implied triangle.

After I decided on the colours and composition of my painting, I sketched it onto watercolour paper which I had stretched overnight. I used blue pencil for the sketch as this was the main colour of my painting therefore it would not be visible after painting. I covered any parts of the painting I wanted to leave white for the water bubbles with masking fluid and then gave it a light wash to establish the base colours.

After the base wash dried, I painted a second layer over the background to give it more vibrancy and saturation. Then I added the details and darker areas of the subject.

Initially, I was going only going outline the fish with white ink, but after applying the ink, I realised that it did not create enough contrast to the background colours and therefore it did not have the same impact I had originally intended in my digital concept. Consequently, I decided to outline the fish with gold ink which emphasised the fish more and tied together the painting. I then used white ink to give more highlights and outlines to the painting and to add white dots and circles as bubbles to enhance the line of action.

This is the scan of the final painting.

The background of the painting is a sunrise, which consists of more blue hues and symbolises new beginnings. The colour blue conventionally conveys the emotions of sadness and depression, and the oranges and yellows in the corner of the sunrise represent warmth and hope, which implies that sadness is slowly being replaced by happiness. This colour theme is also incorporated into the colouring of the girl, as her shadows are shades of blue, whereas she is highlighted by accents of orange and yellow. Additionally, the fish are also painted yellow, which symbolises happiness and brightness. I decided to paint koi fish, as they are a symbol of prosperity, hope and good luck in Chinese culture, and the use of the glowing koi fish represents looking forwards to the future and bringing good luck to the girl who was originally depressed.

Overall, I am quite happy with the outcome of this painting as it is a different style and theme from what I normally create, and is painted in watercolour which is a medium that I have not used in a few years. I also tried to use some new techniques to create lighting and to blend my subject into the background colour which were aspects that I had intended to improve on from my past traditional paintings. I found that painting lighting with watercolour was relatively more difficult than I anticipated as watercolour is a lot less opaque compared to acrylic paint, so it took me a few attempts and adjustments before I got it to look as I wanted. However, I feel that I learnt a lot through creating this piece and was able to improve a lot on both painting techniques and the use of light and colour in my paintings.

[art-now-poland]

Monsters, Slawomir Chrystow

opaque watercolour, ink and gold on paper

https://www.saatchiart.com/art/Painting-Monsters/403358/2003664/view

[jasdeep]

ਜਹਾਂ ਦੇਖੋ ਤਹਾਂ ਕਪਟ ਹੈ, ਕਹੂੰ ਨ ਪਇਓ ਚੈਨ। ਦਗ਼ਾਬਾਜ਼ ਸੰਸਾਰ ਤੇ, ਗੋਸ਼ਾ ਪਕੜਿ ਹੁਸੈਨ ।ਰਹਾਉ। ਮਨ ਚਾਹੇ ਮਹਿਬੂਬ ਕੋ, ਤਨ ਚਾਹੇ ਸੁਖ ਚੈਨ ।1। ਦੋਇ ਰਾਜੇ ਕੀ ਸੀਂਧ ਮੈਂ, ਕੈਸੇ ਬਣੇ ਹੁਸੈਨ ।2। جہاں دیکھو تہاں کپٹ ہے، کہوں ن پئیو چین ۔ دغاباز سنسار تے، گوشہ پکڑِ حسین ۔رہاؤ۔ من چاہے محبوب کو، تن چاہے سکھ چین ۔1۔ دوئ راجے کی سیندھ میں کیسے بنے حسین ۔2۔ Painting Abhisarika Nayika (“The Heroine Going to Meet Her Lover at an Appointed Place”). Opaque watercolour and gold on paper. Attribution to Mola Ram of Garhwal was made by a descendant of the artist, Balak Ram Sah. circa 1800. Museaum Of Fine Arts, Boston https://sayshussain.wordpress.com/2020/11/03/jahan-dekho-tahan-kapat-hai/ https://www.instagram.com/p/CHLNF-ZnQjA/?igshid=ehogwp2c11iv