Page 253 - Eye of the beholder

The sky has been rendered dramatic by Thomas Daniell, echoing to the influence of Dutch Landscape artists. There are heavy cumulus rain clouds that can be seen on the right hand side, giving the effect that there can be an imminent downpour. But on the left hand side the clouds thin out and the sky is represented clearly. The light is bright and the cast shadows shows high noon time, and the prevalent of parasols carried by many. Compositionally the visual interest of the scene is concentrated on the right hand side, where the artist has provided considerable variety and diversity of architectural residences. While the opposite side has just a poor man’s hovel, yet a visual balance has been struck. It is these aspects of compositions which clarify Thomas Daniell as not only a serious painter but his sharp perceptions in observing many details, which his alien has caught with considerable interest.
AT MUGWAUKUL
This was the first known paintings executed by the Daniells after their departure from Madras on 9th April 1792. At the back of this painting is a running script, in the artists own handwriting, the title of the picture is written as ‘At Mugwaukul’, and dated 17th September 1792. This particular work appears as the 14th aquatint in the Book V of “Oriental Scenery” under Antiquities of India with the following title, “An antique reservoir near Kolar, in the Mysore”. The accompanying Journal entry says ‘This stone cistern, which is very singular in its form and in its style of decoration, was evidently constructed for the purpose of containing water. It is situated near the high road, not far from Colar’. The painting in discussion is therefore important because it is a new discovery and sheds light on a part of this very important journey that was not previously known. ‘Mugwaukul’ is the present day town of ‘Mulbagal’ in Karnataka, situated about 30 kms from Kolar by road.
A similar drawing of this scene is to be found in the collection of British Library and would have perhaps served as a preparatory sketch, since it is dated 24th April 1792 whereas the finished painting in Sadhus’ collection is dated 17th September 1792. The starkly rising cliff and the temple situated at its base were unmistakably present in both the cases. However, while the painting in the collection showed a frontal view of the cliff, the drawing in the British library has the representation of a lateral view. It is equally important to realize that the drawing in the British Library collection was Mulbagal, suggest that it may have been a relatively small settlement by the wayside. While passing by, the cliff and the small temple at its base, would have captured the fecund imagination of the Daniells. Stopping by the wayside, Thomas Daniell would have ordered a halt to the journey in order to sketch the picturesque scene of orderly contrast namely the vertical imposing rock face and the small predominantly horizontal temple at its base. Thomas Daniell along with his travel party included a retinue of 48 members. In the hot April sun scorching the southern plains, the artist took the efforts of sketching this unusual geological formation contrasting elegantly with the temple constructed at its base.
The fact that it is a pencil and water colour painting goes to the credit of Thomas Daniell who appropriately used the medium to bring out the character of the rising rock face that undeniably dominated the landscape around. Rendered in broad brush strokes to suggest the simple geological formation, he nevertheless in its simplicity of strokes brought out the inherent size as well as the heaviness of this huge monolith. No vegetation is seen sprouting from the crevices of the rock formation and remains starkly a small yet a tall hill. The temple constructed at the base is so identified because the red vertical stripes painted on its outer walls to suggest its sacred character, and was dedicated to Someshwara and dates to the fourteenth-century Vijaynagar period.
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