Page 268 - Eye of the beholder

The view rendered by the the the Daniells’ was from an an eminent position at the the the south side of the the the fort The painting is composed dominantly as horizontal planes with foreground middle ground ground and background with the the the the sky occupying the the the the rest of of the the the the space As a a a a a a matter of of fact the the the the division of of of land and and sky sky is is almost equal The sky sky has wisps of of of clouds suggestive of of of a a a a a a a hot summer day evident from the the the brilliant sunlight that floods the the the flat plains In the the the foreground is a a a a a high rocky out crop where a a a a a a a a a a part of the temple temple mandapa may be seen it is a a a a a a a a a a temple temple dedicated to Ganesha In its portico are four soldiers with two having their backs to to the the spectator one standing and and leaning heavily on on the the the the gun he he he he he he is is holding and the the the the other is is seated on on the the the the ground Opposite him is another another soldier facing the the the the viewer with another another standing and and concealed behind the the the the pillar All four of of them them are in in deep conversation Behind them them is an an enclosed space of of the the the mandapa where a a a a a a a a a a a gun rests and and inside are placed a a a a a a a a a a a parasol and and a a a a a a a a a a a cloth bag blue in in colour The pillars of the the portico are are simple with square shafts and serrated edge capitals reminiscent of the the Pallava style of of architecture The texture of of the rock has been brilliantly captured showing striations of colours with subdued monochromatic tones At the the base of of this hilly outcrop is is the the representation of of a a a a a a a Siva temple dedicated to Sudesvara as as as it it is dominated by the the Nandi forms in in its prakara or or enclosure wall as as as well as as as the the seated nandis’ at the the the the four corners of of the the the the base of of the the the the Vimana It is is a a a a a a a simple temple with just the the the the sanctum and the the Vimana over it it contained within an an an enclosure Lower below the the temple is a a a a a a a water body surrounded by sparse representation of the trees on on its bank The water appears fresh as it it is painted with with sky blue tones enlivening the the space with with its freshness as the the hot sun beats down on on the the the flat plains In the the the middle ground is the the the habitation with simple houses and enclosed by a a a a a a ring of of trees Immediately beyond is a a a a a a a palace of of Tipu made from mud bricks a a a a a a a long sprawling horizontal structure in white with bastions at the the the angles In the the the background on on on on the the the horizon horizon can be seen the the domed silhouettes perhaps representing the the mosque and tombs of Tipu Sultan The painting has a a a a a pervasive stillness and quietitude Now a a a a a a rapidly expanding industrial centre on the highway running southwards from Bangalore Hosur was established as as a a a a a a a a a staging post by Tipu Sultan who used it it on his military campaigns into the the Tamil country Hosur had been captured by the the British barely a a a a a a a a year before the the Daniells’ passed by and was being converted into a a a a a a a military station when they made this panorama Tipu’s earthen fort visible in in in in the the the distance in in in in the the the aquatint has long since disappeared Daniells as they travelled south south were also charmed by the the the nobles of the the the south south and the temple architecture of Madurai 262