#basawan

[kaalbela]

Basawan and Suraj Gujrati. Illustration from Baburnama or Memoirs of Babur, ca. 183-1530.

Baburnama is an autobiographical account by Zahiruddin Muhammad Babur, a descendant of Timur and the first Mughal king of India. The miniatures are from an illustrated copy of the Baburnama prepared for the author's grandson, the Mughal Emperor Akbar. Akbar’s commissions were divided up among teams of artists working at the court, and often two painters collaborated on a single image, in addition to the calligraphers. This particular illustration is attributed to Basawan, responsible for the composition and the drawing, and Suraj Gujarati, who painted it. The miniatures reflect the culture of the Mughal court at Delhi, and are important as evidence of the tradition of exquisite miniature painting which developed at the court of Timur and his successors. Timurid miniatures are among the greatest artistic achievements of the Islamic world in the fifteenth and sixteenth centuries.

[art-collecteur]

"A Muslim Pilgrim Learns a Lesson in Piety from a Brahman", Folio from a Khamsa (Quintet) of Amir Khusrau Dihlavi

Painting by Basawan 1597–98

[rihaaish]

Mihrdukht Aims her Arrow at the Ring

The Hamzanama, or the Dastan-e-Hamza, is an extraordinary epic story, originating in various forms in Central and South Asia, in the late 900s-1000 BC. It tells the story of Hamza, a warrior, and his various exploits, involving adventure, romance, betrayal, and combat. In this painting, created in India by the artist Basawan, in the 1500s, the warrior Mihrdukht performs a feat of archery, shooting her arrow through a ring set in the mouth of a golden bird, which is on top of a tall pole. Hamza's son, Hamid, matches the feat, and wins her hand in marriage. This painting is the collections of the Met Museum, but is not on display.

[goddessactuality]

A LEARNED MAN: ATTRIBUTED TO BASAWAN, INDIA, MUGHAL, CIRCA 1575-80, VERSO WITH CALLIGRAPHY IN SHAH JAHAN'S HAND

[angiehomes83]

Celebrating Indian Artists: A Journey Through Tradition and Innovation

India, a place where there is different societies and rich legacy, has for quite some time been a center for creative articulation. From the old paintings of Ajanta to contemporary magnum opuses gracing worldwide exhibitions, Indian artists have constantly pushed the limits of innovativeness and advancement. This blog digs into the lively universe of Indian artists, investigating their commitments, remarkable styles, and the developing craftsmanship scene.

The Tradition of Indian Workmanship

1. Old Workmanship and Customary Structures

Indian workmanship's foundations can be followed back millennia, with early models remembering rock compositions for Bhimbetka and the choice frescoes of Ajanta and Ellora. These early works frequently portrayed strict subjects, legendary stories, and daily existence, giving a brief look into India's past.

Conventional fine arts like Madhubani, Warli, Pattachitra, and Tanjore painting have been safeguarded and gone down through ages. These styles are portrayed by their many-sided designs, lively tones, and the utilization of regular materials. They keep on being polished by craftsmans across India, safeguarding social legacy and moving present day understandings.

2. Mughal Impact

The Mughal time denoted a huge development in Indian workmanship, presenting Persian impacts and refining methods. Small scale canvases from this period are eminent for their detail and artfulness. Artists like Mir Sayyid Ali and Basawan made works that caught cultured life, hunting scenes, and representations of sovereignty with flawless accuracy.

3. Pilgrim and Present day Craftsmanship Developments

The English pilgrim time frame carried new impacts and difficulties to Indian artists. The Bengal School of Craftsmanship, drove by figures like Abanindranath Tagore, looked to resuscitate Indian conventional fine arts and oppose Western styles. This development established the groundwork for current Indian workmanship, mixing native topics with contemporary methods.

Contemporary Indian Artists

1. M.F. Husain

Known as the Picasso of India, M.F. Husain was a spearheading pioneer who carried Indian craftsmanship to the worldwide stage. His strong utilization of varieties, dynamic organizations, and portrayal of Indian folklore and history made his work famous. Notwithstanding confronting discussion, Husain's commitment to Indian craftsmanship stays unmatched.

2. Tyeb Mehta

Tyeb Mehta's moderate yet strong works mirror the human condition and socio-political subjects. His "Mahishasura" series and "Corner to corner" series are especially remarkable, displaying his dominance of structure and variety. Mehta's work has been commended globally, getting record costs at barters.

3. Anish Kapoor

Anish Kapoor, a stone carver of Indian beginning situated in the UK, has acquired worldwide recognition for his great establishments and creative utilization of materials. His works, for example, "Cloud Entryway" in Chicago and "Sky Mirror," challenge impression of room and structure, making him perhaps of the most compelling contemporary craftsman.

4. Bharti Kher

Bharti Kher's work investigates subjects of personality, orientation, and social hybridity. Her utilization of bindis as a common theme makes striking visual stories. Kher's establishments and models have been displayed in renowned exhibitions around the world, procuring her acknowledgment as a main contemporary craftsman.

The Advancing Craftsmanship Scene in India

1. Workmanship Fairs and Biennales

India's craft scene has seen critical development, with occasions like the India Workmanship Fair and Kochi-Muziris Biennale giving stages to artists to grandstand their work. These occasions draw in worldwide consideration, encouraging culturally diverse trades and lifting Indian workmanship's worldwide presence.

2. Computerized Workmanship and New Media

The appearance of computerized innovation has opened new roads for Indian artists. Computerized craftsmanship, video establishments, and intuitive media are acquiring prominence, with artists like Raqs Media Aggregate and Shilpa Gupta investigating inventive mediums to resolve contemporary issues.

3. Supporting Arising Artists

Associations and exhibitions in India are progressively zeroing in on sustaining arising ability. Drives like the Kochi Biennale Establishment and residency programs furnish youthful artists with amazing chances to foster their abilities and gain openness. This help is vital for the proceeded with advancement of Indian workmanship.

End

Indian artists, through their rich legacy and imaginative methodologies, have altogether added to the worldwide workmanship scene. From customary structures to contemporary articulations, their work mirrors the different social embroidery of India. As the workmanship scene keeps on advancing, the world enthusiastically expects the following rush of inventiveness and brightness from Indian artists. Whether you are a workmanship lover or an easygoing onlooker, investigating crafted by Indian artists offers a significant and enhancing experience.

Exploring the World of Abstract & Modern Art

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[torsades-de-pointes]

Emaciated Horse and Groom, Drawing by Basawan, c. 1595

[milleniumaviationacademy]

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[rifleeek]

"Alexander Visits the Sage Plato in his Mountain Cave"Folio from a Khamsa (Quintet) of Amir Khusrau Dihlavi

For the gallery trip, I made a visit to the Metropolitan Museum of Art to look at some actual miniature paintings they had on display. These works were located in the Islamic wing. Unfortunately one of the works that I had seen on my last visit was currently not on display this time, but I had a picture of it from before that I thought I should share with you guys because it is one of the peices that greatly influenced some if the paintings I plan on making.

The painting is made by the court painter, Basawan, during the Mughal period. The painting depicts a tale from the stories of the famed poet Amir Khusrau, who wrote a quintet about Alexander the Great's tales in South Asia.

Out of many of the paintings that were showcased in the museum on my last trip, this one caught my attention due to the way the artist was able to paint such small details in the work. The colors in the painting also made it stand out to me because most of the foreground uses a pretty earthy tone, but then the pop of colors from the clothing of the figures makes them stand out. I loved the layout of the composition. Most Mughal miniature paintings tend to be flat in perspective, but Basawan's works show a bit more of an atmospheric.

It's unfortunate that the work was not available to be viewed, but I had asked one of the member service people at the front if they plan on showcasing it again soon. She said that the works tend to be rotated every couple months or year, so it may be up for viewing again.

[believersiasacademy]

Indian Paintings Part 2

Part 2

Miniature Paintings

Miniature paintings are characterised with small and detailed paintings.

Human forms are most commonly seen from the side, with large eyes, a narrow waist, a sharp nose, and so on.

The full flowering of miniature painting began when India came into direct contact with the Islamic Civilisations.

Pala School

The earliest examples of miniature painting in India exist in the form of illustrations to the religious texts on Buddhism executed under the Palas of the eastern India and the Jain texts executed in western India during the 11th-12th centuries A.D.

A large number of manuscripts on palm-leaf relating to the Buddhist themes were written and illustrated with the images of Buddhist deities at centres such as- Nalanda, Odantapuri, Vikramsila and Somarupa

Lonely single figures were commonly found and we can rarely find group figures in this school.

These paintings were also used and patronised by followers of the Vajrayana school of Buddhism.

Pala painting shows a naturalistic style and is characterised by sinuous lines and subdued tones of colour.

The Pala art came to a sudden end after the destruction of the Buddhist monasteries at the hands of Muslim invaders in the first half of the 13th century.

Mughal Paintings

The Mughal paintings combined Safavid school of Persian art and Indian art.

They concentrated their efforts on scenes of hunting, historical events, and other court-related matters.

In the beginning of Akbar’s rule a studio of painting was established under the supervision of two Persian masters, Mir Sayyed Ali and Abdul Samad Khan, who were originally employed by his father Humayun.

It is marked by supple naturalism based on close observation of nature and fine and delicate drawing and is primarily aristocratic and secular.

An illustrated manuscript of theTuti-nama in the Cleveland Museum of Art (USA) appears to be the first work of the Mughal School.

The school reached its peak during the reign of Jahangir.

Some of the famous painters in Akbar’s court other than the two Persian masters already mentioned are Dasvanth, Miskina, Nanha, Kanha, Basawan, Manohar, Doulat, Mansur, Kesu, Bhim Gujarati, etc.

The famous painters of Jahangir are Aqa Riza, Abul Hasan, Mansur, Bishan Das, Manohar, Goverdhan, Balchand, Daulat, Mukhlis, Bhim and Inayat.

To know more about Indian Paintings click here.

[acrosscenturiesandgenerations]

▪︎ Allegorical Figure of Fortitude (?).

Artist/Maker: Attributed to Basawan (India, active ca. 1565-1598)

Place of origin: Pakistan, Lahore, Mughal Empire

Date: ca. 1590

Medium: Ink, opaque watercolor, and gold on paper.

[harvard-art-museums-drawings]

Ascetics Making Bhang, Basawan, c. 1585, Harvard Art Museums: Drawings

This small drawing depicts four youths in a wooded setting. Three are handling pots and a basket while a fourth peers down from behind a tree. The figures are nude, covered if at all, only by wavy hair. A dog, with crossed forelegs observes from the ri... Harvard Art Museums/Arthur M. Sackler Museum, The Stuart Cary Welch Collection, Gift of Edith I. Welch in memory of Stuart Cary Welch Size: 16.7 x 8.8 cm (6 9/16 x 3 7/16 in.) Medium: Black and brown ink on off-white paper

https://www.harvardartmuseums.org/collections/object/217552

[aic-asian]

The Young Emperor Akbar Arrests the Insolent Shah Abu’l-Maali, page from a manuscript of the Akbarnama, Basawan, 1585, Art Institute of Chicago: Asian Art

This is a page from the Akbarnama (Book of Akbar), a lavishly illustrated manuscript commissioned by the Mughal emperor Akbar (r. 1556–1605) to document the history of his rule. The scene depicts the emperor at age thirteen, three days after his accession. Seated on a gold throne placed on a carpeted platform, Akbar watches as his late father’s favorite is arrested for his insolent behavior toward the young emperor. The setting—a tented encampment pitched in a garden—is significant, for Akbar spent much of his reign on the move. Through his active campaigning and strong administrative skills, he greatly expanded the Mughal Empire, consolidating and securing it for his successors. In addition, he was a great patron of the arts, initiating a new style of painting and establishing a vast atelier and library. One of the new themes the emperor encouraged was the painting of historical manuscripts such as the Akbarnama. Commissioned in 1589, it was written by court historian and biographer Abu’l Fazl between 1590 and 1596. Simultaneously, a workshop of about fifty artists illustrated the text. Basawan, the designer of this painting, whose signature appears in the lower margin in red, was one of the studio’s leading painters. He was particularly skilled in portraiture and is known to have painted the faces of the young emperor and the two other figures in front of him: the regent Bairam Khan, who is standing, and the disgraced Shah Abu’l-Ma'ali, who crouches in a red robe. He also painted some of the nearby scenery, which attracted his interest; each painting was collaborative work and could take up to a month to complete. Lucy Maud Buckingham Collection Size: Image: 32 × 19.3 cm (12 5/8 × 7 9/16 in.); Outermost border: 33 × 19.6 cm (13 × 7 11/16 in.); Page: 34.4 × 20 cm (13 1/2 × 7 7/8 in.) Medium: Opaque watercolor and gold on paper

https://www.artic.edu/artworks/76816/

[artdaily7]

Children Listen by Roger Reeves

It turns out however that I was deeply Mistaken about the end of the world The body in flames will not be the body In flames but just a house fire ignored The black sails of that solitary burning Boat rubbing along the legs of lovers Flung into a Roman sky by a carousel The lovers too sick in their love To notice a man drenched in fire on a porch Or a child aflame mistaken for a dog Mistaken for a child running to tell of a bomb That did not knock before it entered In Gaza with its glad tidings of abundant joy In Kazimierz a god is weeping In a window one golden hand raised Above his head as if he’s slipped On the slick rag of the future our human Kindnesses unremarkable as the flies Rubbing their legs together while standing On a slice of cantaloupe Children You were never meant to be human You must be the grass You must grow wildly over the graves

Basawan 1596 A Court Scene, Opaque watercolor, gold, and ink on paper, Folio from a Manuscript of Sadi's Gulistan (Rose Garden)

[classic-asian-art]

Ausschnitt aus einem Sturm auf See, um 1560-65 (opakes WC und Gold auf Papier) von Basawan opakes Aquarell und Gold auf Papier, 1560 San Diego Museum of Art, USA

[the-met-art]

"Tumanba Khan, His Wife, and His Nine Sons", Folio from a Chingiznama (Book of Genghis Khan) by Basawan, Islamic Art

Medium: Ink, opaque watercolor, and gold on paper

Purchase, Francis M. Weld Gift, 1948 Metropolitan Museum of Art, New York, NY

http://www.metmuseum.org/art/collection/search/450954

[jadeseadragon]

A leaf from Emperor Akbar's royal copy of the Jami al-Tawarikh of Rashid al-Din Fazlullah Hamadani (d.1318 AD): Burghul Nuyan killed on the battlefield, attributed to Basawan and Bhim Gujarati, India, Mughal, circa 1596

"Gouache heightened with gold on paper, gold and coloured ruled borders, the reverse with 25 lines of nasta'liq script in black and red, mounted on an album page with buff borders, nasta'liq inscriptions along the lower edge with artists' attributions and the number '22' in Arabic numerals, owner's stamp to lower margin of reverse. Painting: 33.2 by 19.3 cm. / Leaf: 36 by 25 cm."