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Red and blue organs detail , Shahzia Sikander, Pleasure Pillars , , vegetable color, dry pigment, watercolor, and tea on wasli paper, What appears as two connected organs—one red and one blue—draws us into the central space of the painting, between two headless bodies, as we meet the gaze of a woman with large horns.
Above this scene, a large mythological creature is juxtaposed with a monochromatic black jet in the sky, while dancers perform all around them. What do these images and symbols mean in this small watercolor painting from ? Why are they brought together in this way? How can we understand what the artist, Shahzia Sikander, is trying to say in this visually complex work? What forms of pleasure could Pleasure Pillars refer to? Do the pillars represent a physical or perhaps a magical space in which this scene is taking place?
Shahzia Sikander, Pleasure Pillars , , vegetable color, dry pigment, watercolor, and tea on wasli paper, In Pleasure Pillars , Sikander uses materials and techniques of traditional Indo-Persian miniature painting , an artistic practice that draws on traditions from what is today Pakistan, India, and Iran historically known as Persia. Sikander combines aspects of Indo-Persian miniature painting with content from the history of both Western and Asian art and contemporary references to invite us to look more closely and deeply at the world around us.
Widely popular by the 15 th and 16 th centuries, Indo-Persian miniature paintings, such as those commissioned by Mughal rulers , like the one attributed to Bhola, titled Shah Jahan Honoring Prince Aurangzeb at his Wedding , traditionally depicted a range of subjects that appealed to the ruling elite, such as courtly scenes including royal audiences and other state ceremonies, illustrated poetries, histories, myths, and hunting scenes.
