Between the early 18th and late 19th century, the officials working with the East India Company commissioned local Indian artists to paint for them. These paintings later came to be known as ‘Company paintings’.
Curated by author Giles Tillotson, around 200 such paintings are currently on display at the exhibition, ‘A Treasury of Life: Indian Company Paintings, c. 1790 to 1835’, at DAG art gallery.
The exhibition maps the new style and the adjustments Indian artists who once worked in Mughal and Rajasthani royal courts and temples had to make to earn the new patronage.
The exhibit has been divided into three sections–natural history, architecture, and Indian manners and customs. Soft brush strokes, use of opaque watercolour, and a toned down colour palette are the defining features of this artwork.
For instance, an Asian fairy-bluebird is the subject of a painting titled ‘Neelum Purree’. The blue and black bird is perched on a branch. The delicate brush strokes are quite noticeable with plumage finely painted with thin lines, to give it a feathery appearance. Other artworks in the category include the paintings of a common woodshrike, two Asian-Paradise Flycatchers (one painted in white and grey plumage while other in brown), a common birdwing, squirrels, lizards, snakes, a jackal and a sloth.
Botany and buildings
European ornithologists and botanists based in India often needed sketches of local flora and fauna for research and reference purposes. Since sending physical specimens back to Europe was difficult and time-consuming, they commissioned Indian artists to create these illustrations which is why many of the flora and fauna sketches in the collection stand alone against a blank background.
A large part of the series of illustrated plants comprise sketches of familiar, garden-variety types, drawn either from life or collected samples. The use of muted shades–especially dark and sage green–is prominently visible in most paintings. Whereas, an even darker shade has been used to add patterns on leaves.
Among the flowers painted in watercolour by Murshidabad artists are cockscomb, corn poppy, silk cotton tree, dwarf copperweed, patchouli, and many more.
Art under command
After the British began taking control over Delhi in the early 1800s, Europeans started visiting the city’s monuments frequently. Instead of bringing European artists or souvenirs, they hired Indian painters to create works they could take home. Patna artist, Chunni Lal, for example, paints the inside of the gate of Taj Mahal. Despite a tiny, 17.8 x 21.6 cm frame, one can easily differentiate each red, green and blue motifs, and intricately-drawn shapes. In his painting, two blacksmiths are shown at work. One is seated with a hammer raised mid-air, while the other appears to be managing fire. The detailing, from the folds in clothing to instruments have been precisely done.
Artist Sita Ram’s painting of the dargah of Sheikh Salim Chishti shows a grand mausoleum with a large open courtyard in front. The structure is made of stone and features domes, arches and detailed carvings. In the centre of the courtyard are two tombs. Soft, earthy tones hint at a sense of calmness. Whereas, a few tiny figures in the corner add life to the otherwise quiet scene.
In the third section of Indian manners and customs, courtmen, dancers, farmers, and gods and goddesses.The plain background in such paintings, brings a focus directly to the subjects.
The exhibition is on till today, July 5, at DAG, Janpath