Dimensions: 16 3/8 x 11 5/16 in. (41.6 x 28.8 cm)
Copyright: Public Domain
This album folio of a pink lotus was made by an anonymous artist, using opaque watercolor on paper. The lotus is a potent symbol in Indian culture, evoking ideas about purity, love, and rebirth. This particular image likely comes from a Mughal court. These courts were home to incredibly diverse groups of artists, who were often organized in workshops, and whose creations were deeply entwined with the political ambitions of their patrons. The visual codes on display here – the careful naturalism, the elegant framing – speak to the refined tastes of the Mughal elite. They also point to the institutions in which art was produced, where artists learned from Persian, Indian, and European traditions, and where the aesthetic preferences of the court shaped artistic output. To truly understand this artwork, we need to delve into the history of the Mughal Empire, exploring the social hierarchies, religious beliefs, and artistic traditions that shaped its culture.
There are many ways to contextualize this fluidly painted flower. It is said that flowers became an important painting genre in the Mughal studios after the Emperor Jehangir (reign 1605–27) encountered the springtime flora of the Kashmir Valley in northwestern India. This also coincided with the arrival of European floral prints brought by Jesuit missionaries. Already, floral sprays were a primary element in Mughal (reign 1526–1857) decorative arts, inspired by the pervasive floral environments of the paradisal gardens described in Islamic texts. Here, the painter imaginatively interprets a pink lotus, which is associated with purity in many South Asian belief systems.
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