Miniature Paintings Appreciation

Appreciating miniature paintings 1.

Indian miniature paintings or more commonly their prints are often displayed in hotels and public venues to give an Indian touch to the surroundings. Hurriedly completed and inexpensive replicas are offered to visitors in touristic cities thus reducing a great art to a mere caricature of its original place in Indian art. Unfortunately Indian miniature paintings today have a limited appeal for the Indian audience.

To appreciate a miniature painting one must stand quite close to it and spend time in appreciating its various characters, colours and features. Appreciating a miniature painting is an independent activity and not a casual time pass while doing something else.  Such paintings were made for the viewing pleasure of connoisseurs from a well to do community in a bygone era.

A few hundred years ago there was very little entertainment on a summer evening or a winter afternoon.  This was especially true for those who had arrived in life and were pursuing more evolved and engaging interests to enrich their lives. Typically a miniature was passed around in the room and viewed from a distance of 18 to 24 inches by the patron connoisseurs to entertain themselves and set their conversations going. The finer points were perhaps discussed and the patron or owner of each piece was criticised or praised for the fine artists employed by him in his atelier.

The patrons and collectors of miniatures never painted but directed the creation of a piece of art. To a great extent it was the patron’s vision and imagination which had to be translated by the artist in such a way that it was reflected in the art form. Contrast this to the contemporary artists who pretty much do their own thing and offer their creations to the world to view and appreciate. The great masters had perfected their own styles and used their own concoctions of paints and brushes. Some of them had developed a distinct style and were encouraged by their masters in pursuing their individualistic style and manner with their junior artists. While commissioning a painting or series there was tremendous discussion and exchange of views between the master artist and the patron before an order was finally placed. The selection of colours and contrast is very important in miniatures as they were viewed indoors without any extra lighting. Similarly the detailing and finish of each aspect in the painting was minutely examined by patrons and were the defining features of a good or upcoming artist.

Most often the subject of the painting was not directly associated with the patron unless it was his own portrait. Very often the subject was neutral and non-controversial and could be discussed publicly. If the paintings were erotic in nature one can imagine that the viewing would be done within the then socially acceptable norms.

Allegorical paintings reflected the public image which the patron wished to create. It was perhaps a public relations exercise in building an image or impression of the subject being depicted. In a Mughal miniature the emperor is seen giving precedence of audience to a holy man over the king of England who is seen waiting in the background. It is a different matter that no British monarch ever visited or waited on a Mughal emperor. Therein lies the allegorical significance, as the subject wishes to be seen as a pious and just ruler who gives precedence to spiritual matters over those of State.

Miniature paintings can be traced to the Ajant Ellora period where wall paintings with fine detailing and distinct style were created. The dreamy and inward looking eyes of the Apsaras may have also contributed to and perhaps inspired miniature artists in the centuries that followed.