—— er. oT The Rajasthani, School of Miniature Painting Origin and Development ‘} In the beginning of the 15th century, the delineation of miniature paintings in the Jai Kalpasutra style was started in Mewar (Udaipur), Rajasthan area. In these paintings we fin the collaboration of specific elements of local folk arts and the great art traditions of Ajant and Gujarat! ‘The most developed form of this art-style can be seen in the paintings of Palam Bhagwa of 1555 A.D in which the basic art-style of Rajasthan has been presented in pure forn Gradually, this style of miniature painting has been followed by other centres of Rajasthan. | Specialities of the miniature paintings painted in this region can be seen as the following- sentimental faces, sharp features, imposing figures, presenting different humanly emotions potential underlining and dark colours.” S On the basis of geographical diversities and local interests, the art of Rajasthan can be classifie: into several sub-schools of miniature paintings which are as follows: 1. Mewar (Udaipur) Sub-school of Miniature Paintings. In the beginning of th 15th century, miniature paintings were painted in Mewar area (Rajasthan). Its mos developed form can be seen in the paintings of alae Beret, ‘Tapre are some othe Tom paintings based on the themes of the painters ‘Sahibdin’ and ‘Manohar’. They painter many jgpmorial great paintings based on Bhagtiropatras, Panchvyakhyanoropatra ae rae yanor ‘atra and the Ragas. POSTE] ere TTT Se : 2, Bundi Sub-school of Miniature Paintings. The first miniature painting of Bundi styl was painted in Chunar in the form of Ragmala series of paintings. The art skills of Bund style are unique due to the conjugation of the Mughal and the Deccan art eleme nts. But Bundi has a well-practised hand in portraits. 8. Jodhpur Sub-school of Miniature Paintings. Jodhpur got art tradition in heritag from Mewar, In the beginning of the 17th century, it was known for Pali Ragmale intings. Pure indigenous poeta is the stylistic characteristic of these paintings. Bol (71 BERN ais sub-school, there is abunda 4. Bikaner Sab-schcol of Miniature Paintings. In this eub-school, there is abundan, ; to Bi of elements of the Mughal art, because the painters of the Mughal court came to Bikane ‘They implemented customs of Mughal art in the local art. As a result, the new style painting came into existence. These painters accepted the tradition of Bikaner style ; painting and kept their inclination towards the paintings of the Hindu myths. in, Ruknuddin, Nuruddin, and Murad were th, Painters: Ali Raza, Master Sahibd! s of this sub-school. famous painters o} 5. Kishangarh Sub-school of Miniature Paintings. Mysterious beauty of women is the life of Kishangarh style of painting. The immortal paintings like Bani-Thani (Radha) and the painting of king Sawant Singh are the identity of Kishangarh style. Painters: Bhawani Das, Surat Ram and Nihal painting kingdom. . d are priceless heritage of the 6. Jaipur Sub-school of Miniature Paintings. In Jaipur, this style of miniature painting got patronage in the reign of king Sawai Jai ingh. In Amer, more paintings have been made on abstract subjects. Live shapes and hunting scenes is the identity of Ajmer-Sawar. Other centres of this sub-school are Jalor, Jaisalmer and Puskar. Painters: I Mohammad Shah and Sahib Ram were the prominent artists of Jaipur sub- school. 7. Sob molia_+- dh ant Work wy o foFrail of Sh& ~ounco Raya Dirndl) Singh h on bho baek Gunn} : he of BN ae ch makina foods. ¢ 1 Study of the Miniature Paintings of Rajasthama Schoo! flat backgxound | Name : Raja Aniruddha Singh Hara Painter : Utkal Ram Sub-school: : Bundi Medium —_: Watercoloursonpaper Technique : Tempera Cirea : Early 18th Century Collection _: National Museum, New Delhi DESCRIPTION This painting was painted by Utkal Ram in the beginning of the 18th century. In this painting, & young Rajput king has been shown wearing decorated apparels, jewels, and a wonderfully decorated turban of Mughal style on his head. His eyes have been shown rather sentimental. The particular attraction of this painting is the straight stretched tail of the horse. All the cmamental elements in this painting have been painted in red, orange and yellow-brown colours. White-coloured horse and apparels of the king have been delineated in charming combination. The king has been shown holding the rein of the horse in his left hand very proudly and in his right hand, he has been holding a beautiful flower. In the background of the painting, the combination of deep colours has been used in such a way that the main object with protuberance seems to be successful in centring the attention of the people.Maru-Ragini 26 ® Histor of Indian Art2. Maru-Ragini Qogmala Aueus Name : Maru-Ragini Painter: Sahibdin Sub-school: : Mewar (Udail Medium —: Watercolourson paper Technique: Tempera Circa : 18th Century Collection: National Museum, DESCRIPTION subject Mather Maru-ragini is an important miniature painting of ‘Ragmala’ series painted by Sahibdin, a courtier painter of Mewar. In this painting of 18th century, the king and the queen are shown riding on a camel back in desert background. Their apparels have been shown transparent and decorated with adornment. The camel is shown in running position and fully decorated according to the status of the riders. An attendant is proceeding ahead of the camel, while two male escorts with swords, lances/spears and daggers have been shown in motion. A white hound has been shown running ahead of both the escorts. . In the background, to show winding surface, green-yellow colours have been used with proper effect. All the human figures have been shown wearing deep-coloured apparels and turbans of Mughal style on their heads. The king’s turban has been shown different from all the other turbans. This painting belongs to the sub-school of Mewar and has been surrounded by simple border of orange-colour. The calligraphic work in Devnagari Script has also been done on the top of the painting. whee) mall »— Mory nog wy a Vantec) taining from Rogmaly Saris Jt 00s Painted of dhe Painlar of Mawes Coduifis Ji amala Bah bebinKrishna on SwingSaas 3. Krishna on Swing + (?sfna- fel. , ny Ketogiea! Name ? Krishna on Swing Painter = Nuruddin Sub-school: : Bikaner Medium —_: Watercolours on paper ‘Technique: Tempera Circa : 1683 A.D. Collection; National Museu! DESCRIPTION aSubject Malter - This painting has two panels— in left side of the upper panel, Krishna has been shown # on an ornamented base ofa hexagonal swing. His upper half blue coloured body is almost naked but few ornaments made of pearls and other jewels have been shown around his neck that hanged on the chest. A yellow, thin lined scarf dangling from his shoulders and an ornamented ¢rown has also been shown on his head. Round the waist he has worn an orange coloured printed clothe called Dhoti. Krishna is intently looking towards Radha sitting on a balcony of his right side. Radha has worn traditional ghaghara and choli. She has covered her head with a transparent chunari and she, sitting on a red carpet, is looking towards Krishna, To ease the bodies of both Radha and Krishna, in the back side, are put round pillows (musnad). Jn lower panel of the painting, Radha and Krishna have been shown sitting separately on red carpets under a tree. Their dresses are similar to those shown in the upper panel. Bat, in this Panel, the colour of Krishna's dhoti has been shown yellow. To ease their bodies round pillows have been put on the carpets. In this panel, Radha's attendant has been shown standing beside Krishna, Possibly, she has come to Krishna taking some message of Radha. She has worn a light violet and yellow stripped ghaghara and a matching choli. In the background a mound made up of a mixture of green-yellow colour has been shown. Beside the mound both the panels have been shown separately. Clumps of trees and their leaves with wonderful paintings have also been shown. In this painting the artist has also Painted the architecture very beautifully. Placid and bright colouring is the distinguished feature of Bikaner style. i fers ; Raia byfmsuavoon) iy ub malley «Gh dia rindalie fond of Kas hve eo modbieval 7 peels, hideel a Keushng , Whi enja\ ing Sesingin stokes uth um en we Suny o af’ other the, Reaalh’, Sia ballet Ketahng offends Fodng hors tone fox Joxshng ssl nob elevate m Hor husk heart 4o Laas that ooze from of = oe The en of Miniature Painting m e4, Radha (Bani-Thani) Name : Radha (Bani-Thani) Painter: ‘Nihal Chand Sub-school: : Kishangarh ‘Medium Water colours on paper Technique: Tempera Circa 1760 A.D. Collection: National Museu DESCRIPTION Radha (Bani-Thani) of Kishangarh is the most famous miniature painting of Rajasthani Famous artist Nihalchand made it very beautifully. The Government of India had issue postal stamp on this miniature painting. In the painting, Radha is smiling mysteriously and her eyes with womanly beauty are worth seeing. In this artistic portrait, Radha’s face has been shown large in size. The forehead is in proper curvature. The nose is long, sharp and pointed. The arched eyebrows and lips have been shown thin and red. The black curly hair is hanging down up to the waist, and a thick lock of hair is dangling down on the cheek. She is very softly holding two buds of lotus in her left hand. In her right hand, she is holding her gold-studded bordered transparent chunari (orhani) in a graceful womanly manner. Her apparels and jewels have been painted according to the Rajput tradition, ‘The chunari has been knowingly made transparent so that the wearing jewels, clothes and” parts of her body could be glitter athwart. The background has been shown with different gleams of dark blue colour. ab mally ¢— Shs Poinding &s botad ab caur} oncar King Sawont Sinch af Késhangorh Mame) Ger thon dhe king aoas goat che valin of Rackhy andl Krishna . 0, he gene dhe Name Bon}-thart fd his courte}anc. + fobtal atamp + Melt famous * Indian Nonalisa:dd parnk Name : Bharat Meets Rama at Chitrakuta Painter Guman Sub-sehool: ; Jaipur Medium —_: Watercolours on paper ‘Technique Tempera 18th Century Collection: National Museum, New Delhi Cir Sibi = he paid pels ote om, Ramo tiny «Shon Bharal como DESCRIPTION $5 chile Kuf-do mecfRo moj unity tis UoiMydhran Mosher domd in this painting, painter Guman has painted an episode of the Ramayana through 49 very Sdinary human figures. Bharat and Shatrughna, with their wives, mothers, preceptors and tistinguished officials, arrived Chitrakut and they all have been shown trying to persuade Fama, Lakshman and Sita to come back to Ayodhya, Dark skinned Rama, with halo, has been shown in ruddle-coloured clothes, All the mothers have been Painted in white clothes. Bharat ave Shatrughna have worn similar light pink clothes, The Precepto white beard and wearing pink and ruddle-coloured clothes Sita as well stan Pinkccoloured sarees. Some of the pictures have been shown in motion and the others ‘iagnant. In the upper part of the painting, Rama, Lakshman and Sita have been shown in Aifferent countenances greeting the mothers, Below Rama is shown maki Ramm At one place, having heard the sad news of the death of his father, Dasharath, Rama has been shown fainted. In upper portion, Sita is discussing with her mothers-in-law *HUTY YushwoumulFe Yerriaus, episoids home ban shodn un a Binge Seong, The Rajasthani School of Miniature Painting m 33 rs have been shown in as the other wives haveand others. At one place, Rama has been shown begging apologize from his preceptors—(the rishies), and Lakshman standing behind him. Bharat and Shatrughna have been shown sitting together. And, in the end, all have been shown standing on right side in a line. Probably, this is the time of farewell. In the background of the painting, dark green hut has been shown on which a black-coloured special structure has been painted. Behind that, many trees, flowers and plants were also depicted. Behind these trees a hill has been shown. In front part of the painting, there is a water source in which so many blossomy flowers of lotus have been shown. Near the water source, there is a clump of trees. The base of the painting has been painted by diluting the ruddle colour which is giving base to all the figures. This is one of the unique paintings that were painted in patronage of the tuler of Jaipur, Sawai Jai Singh, in the middle of 18th century. 1. Describe briefly the development of Rajasthani School of Miniature Painting and specialities of its sub-schools. 2. On which themes/topics have the artists laid emphasis to make mini: intings i cece pI make miniature paintings in 3. There is subjective vividness in miniature painti inted in Raj i paintings painted Dage eetray gs painted in Rajasthani school. 4. On the basis of your study, describe the compositional arrangement of the following: (@) Maru-Ragini (6) Raja Aniruddha Singh Hara (©) Radha of Kishangarh (Bani-Thani) (4) Krishna on Swing 5. Describe the following briefly: (@) Sub-school of Bikaner painting (®) Sub-school of Kishangarh painting @ Sub-school of Mewar painting (@ Sub-school of Bundi painting larify the specialities of miniat inti cass ure paintings of Jodhpur sub-school of Rajasthani