DECORATIVE ART OF MUGHAL INDIA SC eR cuC UT Gomer turban ornament, 16th century (Top) ‘Qatar dagger with gomset jade hit, 18th century (Bottom) APRIL 2008Miniature painting of Shah Jahon holding @ sv affluent socier. The virtuosity in valu- ble hard materials certainly did not end ere, C = emeralds, ochon and facet gems such abies and spinels were also -arveds typically with inscriptions mark- 2 Mughal ruler’s ownership. Pietra s.a type of stone marquetry, was an ther form of ornamentation in precious ‘materials favoured by the Mughals. The originated in Flor jined popularity in India during th century. Interpreted in the lo cal style it yielded graceful renditions of oral and foliate motifs, which can still be viewed today in the Taj Mabal, re- technique, whiel the cently vored one of che Seven Wonders of the World in a worldwide survey Skilled in als into pleasing forms, it comes as no coaxing precious materi~ surprise that Mughal artisans were also dept at working gold and silver, Ex fing in the application of a wide ra ng openwors, filigree, repoussé and inlay, Indian metalwork to new heights of refinement. Another popular form of surface o7 of techniques, including engrav took their craft in Mughal decorative artis enamelling, which is usually applied to the backs of ry pieces. Like pietra dura, this technique originated in Europe. Euro- pean jewellers who were employed in ‘Mughal royal ateliers introduced the technique to their Indian counterparts, ‘who took toi with great aptitude. These creative syntheses were the result of well-establishe Mughals and ably mote extensive than in any other arope, which was prob: [Asian civilisation, Precious materials were also incor- porated into one of the most celebrated foams of Mughal art ~ miniature paint= ings, which have been a central element of Mughal courts since the ime Babu (1483-1530), founder of the dy- nasty. Gold and silver leaf was used to i luminate paintings, adding brilliance to their highly narrative content. Precious and semi-precious stones were ground and combined with pigments derived from vegetables and mineral, y bold contrasts of reds, blues, yellows. As a result, these paintings of- ten look as vibrant today, as they must have hundreds of years agout (Images courtesy of the Islamic Arts Museum Malaysia ) HERITAGE ASIA-FER APRIL 2008 ESI