Indian sculpture and painting, illustrated by typical masterpieces, with an explanation of their motives and ideals . r faithful, refinedworkmanship and strong characterisation, it arrestsattention more by its exquisite feeling for colour,which invests the rather prosaic form and featuresof the model with a wonderful distinction. Thepainter, like Holbein, does not make use ofshadows, but with most delicate modelling andstrength of drawing he has succeeded in givingthe roundness and explaining the meaning ofevery form. The picture is mounted on a superbly designeddecorative frame-work. First th

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Indian sculpture and painting, illustrated by typical masterpieces, with an explanation of their motives and ideals . r faithful, refinedworkmanship and strong characterisation, it arrestsattention more by its exquisite feeling for colour,which invests the rather prosaic form and featuresof the model with a wonderful distinction. Thepainter, like Holbein, does not make use ofshadows, but with most delicate modelling andstrength of drawing he has succeeded in givingthe roundness and explaining the meaning ofevery form. The picture is mounted on a superbly designeddecorative frame-work. First th Stock Photo
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https://www.alamy.com/licenses-and-pricing/?v=1 https://www.alamy.com/indian-sculpture-and-painting-illustrated-by-typical-masterpieces-with-an-explanation-of-their-motives-and-ideals-r-faithful-refinedworkmanship-and-strong-characterisation-it-arrestsattention-more-by-its-exquisite-feeling-for-colourwhich-invests-the-rather-prosaic-form-and-featuresof-the-model-with-a-wonderful-distinction-thepainter-like-holbein-does-not-make-use-ofshadows-but-with-most-delicate-modelling-andstrength-of-drawing-he-has-succeeded-in-givingthe-roundness-and-explaining-the-meaning-ofevery-form-the-picture-is-mounted-on-a-superbly-designeddecorative-frame-work-first-th-image338146941.html
Indian sculpture and painting, illustrated by typical masterpieces, with an explanation of their motives and ideals . r faithful, refinedworkmanship and strong characterisation, it arrestsattention more by its exquisite feeling for colour,which invests the rather prosaic form and featuresof the model with a wonderful distinction. Thepainter, like Holbein, does not make use ofshadows, but with most delicate modelling andstrength of drawing he has succeeded in givingthe roundness and explaining the meaning ofevery form. The picture is mounted on a superbly designeddecorative frame-work. First th
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Image ID: 2AJ3WTD
Indian sculpture and painting, illustrated by typical masterpieces, with an explanation of their motives and ideals . r faithful, refinedworkmanship and strong characterisation, it arrestsattention more by its exquisite feeling for colour,which invests the rather prosaic form and featuresof the model with a wonderful distinction. Thepainter, like Holbein, does not make use ofshadows, but with most delicate modelling andstrength of drawing he has succeeded in givingthe roundness and explaining the meaning ofevery form. The picture is mounted on a superbly designeddecorative frame-work. First there are two narrowborders, in one of which a Persian sonnet is ^ The Mogul miniaturists did occasionally paint portraits on a scaleeven larger than the enlargement here given. The Art Gallery formerlypossessed a very fine example, a portrait of Dara Shikoh, about half life-size. This was transferred to the Victoria Memorial collection atLord Curzons request, where it is now, I am glad to say, valued sohighly that the Trustees considered it unsafe to allow me to reproduce it. PLATE,LXISTUDY OF A White crane u^\,^. MANSUR 213 arranged in cartouches, with floral decoration;oittside them there is a wide edge of exquisitePersian floral diapers exactly in the style ofthe pietra dura decorations of the Taj Mahalat Agra, which are always wrongly attributed byAnglo-Indian tradition to the French adventurerat Shah Jahans Court, Austin de Bordeaux. The supreme skill and taste with which theMogul miniatures are mounted add greatly to thecharm of the pictures. The borders were gene-rally the work of another artist, but they arefrequently not inferior as works of art to thepictures themselves. The name of the artist Nanha is not, so far asI am aware, mentioned in the records of Jahangirsreign, but the Calcutta Art Gallery possesses two,possibly three, finished studies in colour byMansur, the painter on whom Jahangir conferredthe title of Nadiru-1-Aslt, and whom he describedas being, together

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