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Table of contents
Suddenly, the game was up. In came the disaster called demonetisation and the disruption named GST. The initial euphoria over decisive leadership evaporated and millions and millions took stock of their unabated misery, underemployment, unemployment and began asking questions about the delay in the arrival of the much-promised achhe din. Social media is bubbling with grumbles and ridicules.
The secular vikas has come under contestation; for the first time, the so-called Gujarat Model of Development and its presumed achievements and accomplishments are being questioned. The rivals are asking for an explanation for the failures and half-successes.
What is to be done? To begin with, the Hindu vote-bank has to be constantly reminded of the dangers and threats from Muslims, at home and abroad. Even that endeavour is not easy to sustain.
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Triple talaq has been sorted out by the Supreme Court ; the Muslims and their leaders are playing cool and have already made a tactical retreat into their ghettos. The strategic question becomes: how to contain the incoming tide of disapproval and disenchantment? A re-think became necessary after Doklam, which did not quite produce the clear-cut outcome that could be kneaded into a victory narrative, or palmed off at the hustings.
So, the hunt begins for enemies at home. History has to be enlisted. We have to be inventive and innovative to keep the Hindu vote-bank intact. How to get us all stirred up? So, we find ourselves dragged by the scruff of our collective neck to smell the stench of historical prejudices and resentments. Anything that will stir up our visceral fears and prejudices would do: we will rename Dyal Singh College as Vande Mataram College.
Oppose the move and run the risk of being painted black in the colours of deshdroh. He is to be demonised as just a Muslim ruler who inflicted great injustices on the Hindus. Credit: Reuters. The Padmavati controversy is not just an aria to the Rajput notions of chivalry; it is being fanned, perhaps even financed, to highlight the villainy of a wicked Muslim ruler towards a Rajput princess.
And, if all subtle doublespeak fails, Rahul Gandhi is to be compared with such medieval sultans as Alauddin Khilji and Aurangzeb. Our ruling elites face a problem. The Hindu does not have the capacity for sustained emotional fervour or for open-ended hostility. In any case, the Hindu has been already drained out of his emotional capital these last three years. The Hindu may be tempted to ask the question as to how many jobs get created if Padmavati is banned. He also knows that Deepika Padukone is not a Pehlu Khan.
Short of a war-like situation, the Hindu is happy to return to the daily ritual of his karmic equanimity. He is at peace with himself and within himself. He does not feel the need to define himself in antagonism to some enemy figure. The Hindu has a positive, organic view of himself, his society and his country.
This has been at the core of the Indian civilisational perseverance. Turbans worn by men are small and tight, typical of the Akbar period. The Mughal style was further influenced by the European paintings which came in the Mughal court, and absorbed some of the Westem techniques like shading and perspective. Moreover, a number of paintings of court and hunting scenes and portraits were also executed during the period of Akbar.
Portrait of Jahangir, Miniature painting, Mughal School of painting. The list of Akbar's court painters includes a large number of names. Under Jahangir, painting acquired greater charm, refinement and dignity. He had great fascination for nature and took delight in the portraiture of birds, animals and flowers. Besides a number of durbar scenes, portraits, bird, animal and flower studies were also executed during his period.
The portrait of Jahangir illustrated is a typical example of miniature executed during the period of Jahangir. This miniature is in the collection of the National Museum, New Delhi. It shows Jahangir holding a picture of the Virgin Mary in his right hand.
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The portrait is remarkable for its superb drawing and fine modelling and realism. There is liberal use of gold colour on the borders which are decorated with floral designs. Text in Persian appears along the border. The portrait is assigned to A. Following the example of the Mughal Emperor the courtiers and the provincial officers also patronised painting. They engaged artists trained in the Mughal technique of painting. But the artists available to them were of inferior merit, those who could not seek employment in the Imperial Atelier which required only first-rate artists. The works of such painters are styled as "Popular Mughal" or 'Provincial Mughal' painting.
This style of painting has all important characteristics of the Imperial Mughal painting but is inferior in quality. An example from a series of the Ramayana of the early 17th century in the typical popular Mughal style, from the collection of the National Museum, New Delhi.
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It shows a fight between the armies of Rama and Ravana in Lanka. Rama with his brother Lakshmana is seen in the foreground to the left while Ravana is seen in his court conversing with the demon chiefs inside the golden fort. The drawing is fine but not as refined as observed in the Imperial Mughal painting. The human facial type, demons, the tree types and the treatment of rocks are all in the Mughal manner.
The miniature is marked by the spirit of action and dramatic movement created in the fighting scene. Under Shah Jahan the Mughal painting maintained its fine quality. But the style, however, became over-ripe during the later period of his rule. Portraiture was given considerable attention by his painters. Apart from portraiture, other paintings showing groups of ascetics and mystics and a number of illustrated manuscripts were also executed during his period.
It displays supple naturalism of the Mughal style of the Shah Jahan period. The drawing is refined and the colours have subdued tones. The background is green and the sky is in golden colour. The borders show floral designs in golden colour. The miniature is assigned to circa A. Aurangzeb was a puritan and therefore did not encourage art. Painting declined during his period and lost much of its earlier quality. A large number of court painters migrated to the provincial courts.
During the period of Bahadur Shah, there was a revival of the Mughal painting after the neglect shown by Aurangzeb. The style shows an improvement in quality. After A. Though retaining the outer form it became lifeless and lost inherent quality of the earlier Mughal art. Though no pre-Mughal painting from the Deccan are so far known to exist, yet it can safely be presumed that sophisticated schools of painting flourished there, making a significant contribution to the development of the Mughal style in North India.
Early centres of painting in the Deccan, during the 16th and 17th centuries were Ahmednagar, Bijapur and Golconda. In the Deccan, painting continued to develop independently of the Mughal style in the beginning.
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However, later in the 17th and 18th centuries it was increasingly influenced by the Mughal style. The earliest examples of the Ahmednagar painting are contained in a volume of poems written in praise of Hussain Nizam Shah I of Ahmednagar and his queen. One of the illustrations depicts the king sitting on the throne and attended by a number of women. The female type appearing in the painting belongs to the northern tradition of Malwa.
But the long scarf passing round the body is in the southern fashion. The colours used in the painting being rich and brilliant are different from those used in the northern paintings.