Baburao Krishnarao Mistry was a polymath, who was known for his contributions in the field of filmmaking. He trained five hundred people, one of the most recognised students was V. Shantaram. Baburao was a skilled artist, sculptor, and photographer, and hence he is colloquially known as Baburao painter.
Influenced by European painting techniques and subject matter, we see here the painting of Lakshmi that has been stripped of many traditional iconographic symbolisms, it is rather executed in oils and moreover takes inspirations from Greco-Roman and Western classical examples of feminine beauty. His own gaze is more inspired from his experiences of working as a painter for stage backdrops that were used in Parsi-Gujarati theatre plays. In this artwork, Goddess Lakshmi is seen resting on a lotus bed that is floating in an expanse of a divine ocean, as hold a lotus bud in the left hand, while her right hand is gently supported by another lotus bud. The soft lighting and the golden glow of the halo lightens up her face as the red saree is deeply contrasted against the soft and subtle blues. Baburao’s Lakshmi seems more inspired from the heroines of nataks and films, presenting a more grounded and human image of the divine being. In this work, we Baburao’s two worlds merge in perfect harmony, as he plays with the abstract ideas of femininity and divinity and portrays in a more earthly visage, with hints of Raja Ravi Varma seen in the painterly treatment of the female body. The painting is undated, its creation falls in the era of twentieth century CE.
The painting The Construction of Agra Fort presents more than a historical record of architecture; it reflects the scale of ambition and organisation during Emperor Akbar’s reign. Instead of focusing only on the emperor, the artwork gives importance to the workers, builders, and labourers who made the construction possible. This creates a powerful visual message about collective effort and the human contribution behind royal achievements. The crowded yet carefully arranged composition suggests movement, discipline, and cooperation among different groups of people. Tulsi the Younger’s refined colour work helps separate figures and activities clearly, allowing the viewer to understand the complexity of the scene without losing visual balance. The use of detail in tools, materials, and construction processes makes the artwork feel realistic while also celebrating Mughal artistic skill. The painting can be interpreted as a symbol of growth, authority, and cultural development under the Mughal Empire. It highlights how art was used not only for decoration but also for documenting historical events and expressing the values of organisation, progress, and imperial vision.
