Painting
the past
Azmathulla Shariff
describes the summer palace of Tipu Sultan and its unique
architecture, which
stands testimony to the skills of craftsmen of the time,
even today
It was a palace in the past. Its an archaeological museum
at present. And yet, it continues to remain testimony to
the rule of Tippu Sultan and also to the legendary work
of his master craftsmen who used their artistic talent to
beautify the Darya Doulat Palace which continues to impress
visitors even today.
The Darya Daulat, commonly referred to as the Summer Palace
of Tipu Sultan, is situated amidst scenic surroundings on
an island formed by two branches of the River Cauvery at
Srirangapattana.
The beauty of this palace lies in its magnificent architectural
combination of Indo - Islamic architecture. The outer ceiling
of the palace is supported by gigantic wooden pillars, with
its supporting arches carved in Islamic architecture. The
adjacent four walls of the palace located at a little distance
from the huge wooden pillars have beautiful murals.
These murals portray processions, cavalry units, army contingents
headed by Tipu Sultan and Hyder Ali on the war front, Darbar
scenes and royal dignitaries, war scenes and the marching
of uniformed men, elephants with the traditional howda mounted
on it, people carrying palanquins, men carrying flags with
sun as its emblem seated on an elephant back and E-Khudadad
and much, much more.
The beauty and grandeur of this palace is the extensive
use of (eco-friendly) vegetable-dye paintings. Innate artistic
work on the canvas embedded on the wooden ceilings present
intricate patterns with the multiple and diverse use of
natural colours that speak of artistic precision. The magnificent
balcony projections, ceilings and inner walls indicate the
delicate workmanship that has enhanced its importance as
a monument to reckon with.
The balcony projection and the inner floor of the palace
present intricate artistic work that provide persuasive
evidence of Indo-Islamic architecture. Theres aslo a mystifying
effect because of the use of natural colour that has been
used to decorate the interior walls and ceilings with certain
portions having impressive floral patterns. Amidst these
surroundings, sketches, aquatints and paintings are housed.
A good number of charcoal/pencil sketches by famous British
artist Thomas Hickey, paintings by Robert Home, John Zoffany,
G F Cherry and great historical paintings by Sir Robert
Kerporter on the Storming of Seringapatam. The picture gallery
houses some of the most intricate aquatints with exquisitely
detailed depiction in them by the colonial officers of the
East India Company. Some of these aquatints illustrate landscapes
with long fort walls resting on mountain tops, surrounded
by boulders, rocks, weeds, greenery and shaded gradations.
One can almost feel the landscape, with its shadowy details
and spontaneous depiction. However, poor visibility and
a lack of adequate lighting mar the beauty. Carefully installed
focused lighting on these master pieces would generate a
keen interest. Fumigation at regular intervals is needed
to increase the longevity of these aquatints and pencil
sketches. These vegetable-dye paintings need strengthening
to protect them from further exfoliation and a permanent
barricade should be installed all around the paintings covering
the walls in order to prevent visitors from defacing it
any further. By regulating the flow of visitors, the rear
work of art could be further protected from human vandalism.
Doing this at least at the end of the Tipu bicentenary celebrations
would be like paying tribute to the master craftsmen of
Tipu's period and also a mark of recognition of the artistic
talent that was prevalent in the East India Company. Their
passion for sketching and painting the landscapes surrounding
their encampments has preserved not just theese exclusive
works of art, but has also helped us preserve rare moments
from the past pictorially.
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