Artwork

One of Thirty-two paintings depicting festivals, ceremonies and occupations.

One of Thirty-two paintings depicting festivals, ceremonies and occupations. is a gouache painting by the Patna School of Painting artist Unknown. It dates from 1800 and is held in the collection of the Victoria and Albert Museum. The work is a gouache painting executed on a dark mica sheet, forming part of a series of thirty‑two similar panels.

About this work

Overview

The work is a gouache painting executed on a dark mica sheet, forming part of a series of thirty‑two similar panels. It captures a bustling urban scene where spectators line balconies and rooftops, observing a procession associated with the Islamic month of Muharram.

Subject & Meaning

The depicted parade features elephants and camels bearing small shrine‑like structures known as ta’ziyas, which are traditionally used in Muharram commemorations. The composition emphasizes communal participation, illustrating how public ritual engages both street‑level onlookers and those observing from elevated positions.

Technique & Style

Applied with thin, layered washes of gouache, the artist exploits the glossy, opaque qualities of the medium to achieve bold, flat areas of colour against the dark mica background. The layering creates subtle tonal variations while maintaining a clear, graphic outline of figures and architecture.

History & Provenance

Created as one of a set of thirty‑two mica panels, the painting likely originated in a workshop that produced series illustrating various festivals, ceremonies and occupations. The series was intended for decorative or instructional purposes, though specific patronage details remain undocumented.

Context

Muharrah processions, especially those involving ta’ziyas, have long been a visual staple in South Asian Islamic culture, symbolising mourning and remembrance. The inclusion of elephants and camels reflects the ceremonial grandeur often associated with public religious observances in the region.

Legacy

The series offers valuable insight into historical visual representations of communal rituals, serving as a reference for scholars studying the interplay of art, religion, and urban life in the period when such mica‑based works were produced.