Chapter 15: Mediums and Techniques in Visual Art

iii. Both linear and aerial perspectives are visible in the painting.

Linear perspective is visible in the palace architecture. The side walls, parapets, railings and edges of the courtyard appear to narrow as they extend towards the distant garden. These receding architectural lines direct the viewer’s attention from the two dancers towards the background.

Atmospheric perspective is visible in the garden and landscape behind the dancers. The nearby flowers and trees are darker and more detailed, while the distant trees, figures and landscape appear smaller, lighter and hazier. These changes in colour and clarity create an impression of distance.

Yes, the painting represents a confluence of different perspectives. The palace walls and railings use linear perspective to create depth, while the changing colour tones and details in the garden produce atmospheric perspective. The dancers are shown frontally and appear much larger than the distant figures. At the same time, the garden is viewed from an elevated angle. By combining frontal, elevated, linear and atmospheric viewpoints, the artist clearly presents both the dancers and the surrounding architecture while creating an impression of space and distance.

Natural sources of colours include:

• Turmeric – yellow
• Beetroot – red or pink
• Spinach leaves – green
• Red cabbage or jamun – purple or bluish-purple
• Marigold petals – yellow or orange
• Tea or coffee – brown

Complementary colour pairs:

• Red and green
• Blue and orange

Analogous colour pairs:

• Red and orange
• Blue and green

These colours can be observed in the costumes, background, animals and architectural areas of the Mewar miniature painting.

Abanindranath Tagore’s Emperor’s March to Kashmir shows an imperial procession travelling through a vast landscape. The emperor is seated in a covered howdah on an elephant and is accompanied by another elephant, attendants and distant riders. The larger, darker and more detailed elephants occupy the foreground, while the distant animals and figures appear smaller, lighter and hazier. This creates aerial or atmospheric perspective. The warm orange and brown tones gradually blend into one another, producing a misty atmosphere. I would use watercolour wash and tempera on paper, as mentioned in the painting’s caption, to achieve these soft colour transitions and delicate details.

I have explored several visual-art mediums, and each provides a different experience. I use graphite pencils for outlines and shading, charcoal for bold and expressive tones, and watercolours for transparent layers and soft colour blending. Poster colours help me create bright and opaque areas, while oil pastels are useful for vibrant textures. I have also used clay to make three-dimensional objects and coloured paper or fabric for collage work. Digital drawing allows quick corrections and experimentation with layers. Working with these mediums has helped me understand their qualities and choose suitable materials for different artistic ideas.