n and Development Painting in India The Origi of Miniature f Art in India — An Int ted on the basis of some parameters like pment of ts natural and human resources, vntife, educational and cultural development ultural advancement of a country. Tn India, the time of Indus Valley Civilization roduction Evolution 0: try is evalua' evelopment of a count ros th, develo f its citizens, economic grow! Th the human resources we take into account the Art or Fine Art is one of the elements to discuss the ¢' a ancement reflected from hi ‘idences of cultu dvancement mote adel like planned cities, well-developed drainage system, masonry works, archi coment techniques of casting the metals in different forms. Some ¢ oie of a works are concerned tn, life of the eave-men but cultural development here seems in initial stage. Historical evidences ensure us about the gradually development of Art works. The Art | wid Culture during Mauryan period, Shunga period, Kushana period, Gupta period and 1) ‘Architectural development during Sultanate period have already been discussed in the previous volume for class XI. In this volume, we will discuss the new trends or new era came in existence as the Evolution of Art in India and started new style of painting during Pala Dynasty of West Bengal and Jain Manuscripts in Gujarat region that is called the Miniature Painting. This new style of painting had been widely spread almost all over India with regional specification and characteristics by different identifications as Deccan Style of Miniature Paintings, Mughal Style of Miniature Paintings, Rajasthan Style of Miniature Paintings, Pahari Style of Miniature Paintings and Middle India Style of Miniature Paintings. Miniature means mini or small in size but paintings of this style were with minut Cloths, palm leaves and later on paper were used to delineate the picture manuscripts During the British Empire, the Indian Arts had been destroyed by the British propagated that Indian Arts had no specification. But during a short period Artists of Bengal School had tried their best to establish new Style of Western or European Style of Art. Later on this trend has been continued known as Modern or Contemporary Style of Art. In this period, the Indian artists are using di i od, g different mediums, techni express their ideas and thoughts to satisfy not only their feelings or ies desires through their paintings of social igsues, ca ‘The progress and political freedom o Miniature Painting The paintings which are small in size bi i ea u ut having enough detai i objects are called miniature paintings, The paintings of ae Re en the second half of the 10th century A.D, “Pragyapar: : eae i is was painted as miniature on the leaves of palm (today) trees around 999 16first source of miniature painting known so far. Besides, some of the Kalpasutra paintings were painted on palm tree (toddy) leaves as well as on the strips of cloth. No other miniature paintings have been painted during the period of 10th to 14th century A.D. Notwithstanding, Kalpasutra tradition remained effective till the 15th century A.D. Having taken into use for worship or adoration, and facility of transportation, these small religious paintings got patronage of the travelling saints and the businessmen, but these were made even for others. ‘The ‘Mandu Kalpasutra’ of 1439 A.D. was prepared for a Jain ascetic. In the 14th century palm leaves were replaced by paper. Some new mineral colours and dyers were included in previously used colours. Due to hardness, durability, smoothness and a peculiar capacity of absorbing moisture, the paper became an access of revolution in the entire art-kingdom. Along with religious movements, demand for the portraits of the gods and goddesses started increasing. Consequently, the painting was changed into a profitable business. As the result of it, even the experts of other forms of art started taking interest in the field of painting. Due to competition, it became necessary for the painters/artists to form their particular identity. Both the Hindu and the Muslim rulers became eager for looking their splendour, interests and likeness in colour and lines. The painters started making paintings according to their guidance. Consequently, painters developed not only various styles of arts but also they intended to make secular pictures in place of religious ones. Now, the responsibility of conservation of art, slipping from the hands of the businessmen, had fallen into the hands of the rulers and the feudal chieftains. A big part of miniature paintings is conserved in the form of ‘portraits’. Portraits were first promoted by Akbar. But such type of painting was limited only to aristocrats and courtiers, but woman painting was not allowed (except professional dancers). With the portrait of queen Noorjahan, Jahangir promoted women-portraits. Together with the paintings of the rulers and families of their dear ones, family albums also came into existence. Different Styles or Schools of Paintings in India Preliminary miniature paintings are counted in Pala and Jain styles, whereas the afterwards paintings are classified in Mughal, Rajasthani, Pahari, Deccan and Middle India styles or Schools of Paintings. These main styles have even sub-styles or sub-schools of paintings, too, that will be mentioned ahead. Pal School of Painting. Based on incidents of Lord Buddha’s life, a lot of short stories been painted between the 8th and 11th centuries in Bengal and its surrounding area. Bet these paintings were made in patronage of the kings of the Pal dynasty, these are call Paintings of Pala Style. Paintings of Pala Style{ Kalpasutra’ there are the pictures of ted pages of h. These pictures are Jain School of Painting. In the pain' ‘as Mahavira, Parshvanath and Neminat] ‘don both palm leaves and cloths. preceptors (tirthankars) narrative which have been painte Paintings of Jain Style The Characteristics of the paintings. Abundance use of gold, dark colours, biting bend of lines, rhythmicity and splendour confer liveliness to Jain paintings Dwarfish women and men, angular faces, eyes peeping out from faces, sharp noses and costly cloth the characteristies of these paintings. ae QUESTIONS FOR PRACTICE I. OBJECTIVE TYPE QUESTIONS 1. Choose/select a suitable answer of the statement given below. (@) Pala style of painting is related to (a) Pallava Dynasty of South India _() Pala Dynasty of West Bengal (c) Kalighat painting of West Bengal (d) Chola Dynasty of South India (ii) Initial miniature paintings were painted on (a) paper (6) cloths (©) palm leaves —_(d) Both (6)Ree 2 7 a = 1) (iit) Which is false/wrong statement about Pragyaparmita? Mey It is a Jain manuscript was painted as miniature on palm leaves a i: is : eatin manuscript (d) It was painted around 999 A.D. (iv) Which is wrong statement about Kalpasutra? (a) It is a Buddhist manuscript, (b) Painting of this series were painted on palm tree leaves. (c) It is a series of Jain manuscript. (d) These miniature paints were painted during 10th to 14th ns. (i) (b) i @ Gi) @) (iv) @) century A.D. |. SHORT ANSWER TYPE QUESTIONS-1 2, What is Pragyaparmita? What is its significance in the field of Art? 3. To whom are ‘Kalpasutras’ related? What is its significance in the field of Art? 4, How did initiation of painting take place in India? Where were the initial pictures made? |. SHORT ANSWER TYPE QUESTIONS-IT 5. When did paper come into existence? Comment on the role of paper in the field of painting. 6. Distinguish between Pal style of miniature painting and Jain style of miniature painting. 7. What evidences of the paintings have been found in Indus Valley Civilizatic . LONG ANSWER TYPE QUESTIONS. 8, How could the development of the schools of art be possible? Describe the of miniature painting and its sub-schools. 9. What kinds of changes have been felt in art-kingdom after religious movemet 10. Match the Column A with the suitable statement of Column B. Column-A Column-B Gi Portraits were (a) | known as toddy leaves als ie @)| Pala Dynasty was (6) | related to Jain Manuscript. (iii) | Kalpasutras were (©) | destroyed by the British during The British Empy (v) | Palm leaves were (@) | first promoted by ; @) The Indian arts had been related to Westx Limbs of Indian Painting & undamentals of Visual Arts lements and Principles) e Rajasthani and Pahari chool of Miniature Painting (16th Century A.D. to 19th Century A.D.Six Limbs of Indian Painting & The 7 Rajasthani School of Miniature Painting Six mbs of Indian Painting During 200-300 A.D., Vatsyayana, having studied all the important books known as ‘Shastras’ and he wrote gist of all the learning’s ordained by the shastras, and complied them in his famous book ‘Kamasutra’, in which 64 types of arts have been described, out of which painting has been ranked on fourth place. It was a fully developed art with six limbs of painting (Shadangas). Besides Vatsyayana, this couplet has been given even in Pandit Yashodhar’s annotation on ‘Jai Mangala’, that is: euter: waOTfs srreravarTaL arava aftrearaa sf faa weer Roop Bhedah Pramanani Bhavlavanya yojnam 1 Sadrishya Varnikabhang iti chitra Shadangkam | | According to the couplet, ‘Six Limbs of Art’ have been described as followed. Roop Bhed : Capability to differentiate among the Scenes observed by an artist. It is possible when an artist studies deeply about various segments of sight scenes /objects. 2. Praman ; Proportion or exact ratio. It is the proportional measurement of different objects or segments of an object, covered in the Painting (picture). Bhav : Expressions. It is the action of feelings of the artist's heart which is expressed by the artist in his creation. 4. Lavanyayojna : Infusion of grace or knowledge of beauty. It should be reflected in the painting. 5. Sadrishya : Actuality in the view. Actuality/Reality of the sight scene should be reflected in the creation of an artist. 6. Varnika Bhang ; Colour variation. It is the magical or artistic use of colours; better combination of colours makes a painting attractive and perfect. No picture/painting can be perfect unless an artist or painter uses all these six aspects of painting in his creation. With the deep study of these aspects, an artist becomes able to make his art alive Fundamentals of Visual Arts (Elements and Principles) ‘The language of art is based on some fundamentals, known as the elements of art and principles of art or principles of design. Following are the elements of visual art: 1. Point ; A point (,) has no part or dimension but, if it moves in a particular direction and marking a path is ealled line. In artwork, points are used for marking and shading p 2 23Horizontal ines Vertical lines Transverse lines Curved I the composition that is occupied by different objects. The unoccupied area around, within and between the objects used in a composition is known as negative space. Negative space is also important because it creates harmony and balance among the objects. Wvellov) Red] horizontal, transverse, angular, curved, zig-zagged or wav. Shape : When two end points o caine Any existing en or thing has a particular shape. It can be weometrical gp irregular/uneven. Any shape delineated on a flat surface is two-dimensional. Some log three-dimensional due to illusion. But actually, those are not three-dimet we can measure its two sides only—length and width. Spac Colour ; There are three basic colours—red, blue and yellow. After mixing of these colours in same ratio, we will get other secondary colours. Having mixed them in different ratio, we will get a great variety of shades. For example, Primary Colours y has only side or dimension, || 2 A a aie 5 Angular tines Zarged Tine Wavy ling vvnelosee an area, a shape or figure comes ig sional. Becauge 2.Deffect y=DAoxnl @6 It refers as positive space and negative space. Positive space is the area or part of Primary and Secondary Colours Multishades of Colours iBlue} EeEEES Beeend Deeaee BeEED 6. Tone ofthe Colour:Thisisthelighteranddarker == form of colours. For this, you mix the white in the base colour to get lighter tones of that particular base colour and darker tones after mixing the black colour. How much lighter or darker tone you want to obtain, mix the appropriate ratio of the black or white colour in the base colour. Value (Gradation) : It is lightness or darkness of an object. It varies due to pré your drawing tools such as pencil, brush, colours. Yellow is opposite to violet in col and both have different values. It also varies due to space between two objects. techniques also create value or gradation. So, there are so many ways to create ¥ SS eeaxal oO KX aca [2 Hatching. 24 History of Indian Art-XIl_ ——— Tones of the colours ‘Cross hatching Short Circulism Contouring Scribbles Stippling 520" Blending,the picture. 4. Texture : This inthe characteristic ofthe surface on which you paint oF dra i It could be smooth, rough, dotted, or linear in pattern and many more: Textures of the surface Following are the principles of visual art: ¢ elements given in the composition. A var scheme, tones and figures, cohesive impact 1. Unity ; It is an orderly arrangement of all th composition maintains different elements such as lines, colo etc. and that kind of art-work is considered as higher order. So, it creates 4 on viewer's mind, 2. Harmony : It is an agreement among all parts of the composition. The colour scheme 'As well as, all the objects should be used in the composition makes the artwork pleasant. in proportion and well placed, The space management is also a considerable aspoct of composition to create harmony. 3. Balance : It produces a feeling of relaxation. It deals with size, arrangement of colours, position of different objects, texture and pattern that ereates value in the composition. (@) Symmetrical balance: It is a type of formal balance. This type of balance is very common. (ii) Radial balance: It is symmetry in several directions. Visual elements are arranged around a central point in the composition, like the spokes on a wagon wheel. (iti) Asymmetric balance: Asymmetric balance is informal and seems less organized than symmetry but, have similar visual weights. It is more subjective and variable in a composition than symmetrically balanced designs. 4, Proportion : Each object in the painting should be in proportion. For this, correlate the size of the objects given in the picture in respect to distance between or among them. Bach part of an object should also be in exact ratio and in perfect shape. 5. Rhythm : Repeating a same object or figure in different way creates movements, Rhythm in human body/figure is evidence that Q™\ tnusieal or physical activity is going on, but in visual art, rhythm es means an easy connected path for the viewers’ eyes that may travel to look up entire composition/ scene/ painting as a whole. 6. Emphasis: It is a center of interest in the composition. The artist decides the main focus of the composition. He uses an object brighter, bigger in size and centrally placed to make it dominant, The Rajasthani School of Miniature Painting che beginning of the 15th century, the delineation of miniat Origin and Development: Int paintings in the Jain Kalpasutra style was started in Mewar (Udaipur), area of Rajasth these paintings we find the collaboration of specific elements of local folk arts and the great traditions of Ajanta and Gujarat. contrasted, details __ Six Limbs of Indian Painting & The Rajasthani School of jature Painting @> red form of this art-style can be seen in the paintings of ‘Palam Bhagway ure form 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 human emotions, potential underlining and warm, primary colours showing unique richness’ » of Theme: In these miniatures, the themes are mostly narrative, but at the Depict costar eae ies are independent. The miniatures based on Ragamala, Nayak-Nayika-Bhed, Baramasa, Ramayana, Rasikapriya, Bihari-Satsai, legendary of lovers like Dhola-Maru ang Laila-Majnu, Vishnu-Dasavatara, Rasamanjari, Krishna-Lila, Bhagavata Purana, Prithyira, o ete. are narrative, whereas scenes of durbar, hunting, royal processions, ceremoniey stivals, outings, sporting, wine and music parties, harem-life. 7 On the basis of geographical diversities and local interests, the art of Rajasthan can be classified into several sub-schools of miniature paintings which are as follows: 1. Mewar (Udaipur) § chool of Miniature Paintings. In the beginning of the 15th century, miniature paintings were painted in Mewar area (Rajasthan). Its most developed form can be seen in the paintings of ‘Palam Bhagvat’. There are some other paintings based on the themes of the painters ‘Sahibdin’ and ‘Manohar’. They painted many immortal great paintings based on Bhaktiropatras, Panchvyakhyanoropatra, The most devel A.D., in which the basic art-style of Rajasthan has been presented in pi Raj of 1 Banbhedropatra and the Ragas. 2. Bundi Sub-school of Miniature Paintings. The first miniature painting of Bundi style was painted in Chunar in the form of Ragmala series of paintings. The art skills of Bundi style are unique due to the conjugation of the Mughal and the Decean art elements, But, Bundi has a well-practised hand in portraits 3. Jodhpur Sub-school of Miniature Paintings. Jodhpur got art tradition in heritage from Mewar. In the beginning of the 17th century, it was known for Pali Ragmala paintings. Pure indigenous delineation is the stylistic characteristic of these paintings, 4. Bikaner Sub-school of Miniature Paintings. In this sub-school, there is abundance of elements of the Mughal art, because the painters of the Mughal court came to Bikaner. They implemented customs of Mughal art in the local art. As a result, the new style of painting came into existence. These painters accepted the tradition of Bikaner style of painting and kept their inclination towards the paintings of the Hindu myths. Painters: Ali Raza, Master Sahibdin, Ruknuddin, Nuruddin, and M famous painters of this sub-school. 5. Kishangarh Sub-school of Miniature Paintings. Mysterious beauty life of Kishangarh style of painting, The immortal paintings like Bani-Th: the painting of king Sawant Singh are the identity of Kishangarh style. Painters: Bhawani Das, Surat Ram and Nihal Chand are priceless painting kingdom. 6. Jaipur Sub-school of Miniature Paintings. In Jaipur, this style of got patronage in the reign of king Sawai Jai Singh. In Amer, more pain made on abstract subjects. Live shapes and hunting scenes is the identity Other centres of this sub-school are Jalor, Jaisalmer and Puskar. Painters: Mohammad Shah & Sahib Ram were the prominent school. 7. Kota Sub-school of Miniature Paintings. There are some styli similarities between the styles of Kota and Bundi, But Kota style has excell of Baramasa (a conventional verse composition consisting of twelve stan, suffering and agony of separation and the changing moods and characte! during the twelve months of the year, (a particular type of Hindi poetry). 26 =m History of Indian Art-XilStudy of the Miniature Paintings of Rajasthani School Name Raja Aniruddha Singh Hara Painter Utkal Ram Sub-sehool: : Bundi Medium Water colours on paper. ‘Technique : Tempera Cirea Early 18th Century Collection _: National Museum, New This painting was painted by Utkal Ram in the beginning of the 18th century. In this pai a young Rajput king has been shown wearing decorated apparels, jewels, and a wond decorated turban of Mughal style on his head. His eyes have been shown rather senti ‘The particular attraction of this painting is the straight stretched tail of the horse. ornamental elements in this painting have been painted in red, orange and yellow. colours, White-coloured horse and apparels of the king have been delineated in ¢ combination. The king has been shown holding the rein of the horse in his left hant 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 way that the main object seems protruding and to be successful in centring the atte the people. Six Limbs of Indian Painting & The Rajasthani School of Miniature Painting28 BE RUD AIR Mw I2P waa lm History of Indian Art-Xil waansee, aaa aa Maru-Ragini jag OANA AONE fq rae YO fig. WIVATALH |2. Maru-Ragini Name : Maru-Ragini Painter : Sahibdin Sub-school: : Mewar (Udaipur) Medium —_: Water colourson paper Technique; Tempera Cirea : 18th Century Collection; National Museum, New Delhi DESCRIPTION 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-sehool 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. Six Limbs of Indian Painting & The Rajasthani School of Miniatut3. Krishna on Swing Name : Krishna on Swing Painter : Nuruddin Sub-sehool: ; Bikaner Medium : Water colours on paper Technique —: Tempera fF Cirea 1688 A.D. Collection; National Museum, New Delhi DESCRIPTION This painting has two panels— in left side of the upper panel, Krishna has been shown sitting on an ornamented base of a 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 crown 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). In 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. But, 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. —— Six Limbs of Indian Painting &B 3 2 3S4. Radha (Bani-Thani) Name : Radha (Bani-Thani) Painter : Nihal Chand Sub-school: ; Kishangarh Medium —_: Watercolours on paper ‘Technique; Tempera Circa : 1760 A.D. Collection; National Museum, New Delhi CRIPTIO! Radha (Bani-Thani) of Kishangarh is the most famous miniature painting of Rajasthani school. Famous artist Nihalchand made it very beautifully. The Government of India had issued a 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. ~~ Six Limbs of Indian Painting & The Rajasthani School of Miniature Painting m5. Chaugan PI Name Chaugan Players Painter Dana Sub-school: : Jodhpur Medium Water colours on paper Technique : Tempera Circa 18th Century Collection —_: National Museum, Ni DESC In this painting the six princesses have been shown playing polo or Chaugan princesses have been shown riding on their well-equipped horses of white, blue and coloured with royal apparels of different colours. They have been adorned with jewel the heads with excellent adornments in different countenances. ‘They, mounted on their horses moving into different directions, are trying to tak coloured ball into their own control with their sticks. In the front part of the bac! has been shown in peculiar shape, with the mixture of green, blue and yellow col the hind part has been given the perception of grass in a field. In the upper part of has been done calligraphic work.Name Bharat Meets Rama at Chitrakuta Painter Guman Sub-school: ; Jaipur Medium : Water colours on paper Technique Tempera Cirea : 18th Century Collection : National Museum, New In this painting, painter Guman has painted an episode of the Ramayana through ordinary human figures. Bharat and Shatrughna, with their wives, mothers, prece distinguished officials, arrived Chitrakut and they all have been shown trying to Rama, Lakshman and Sita to come back to Ayodhya. Dark skinned Rama, with halo, shown in ruddle-coloured clothes. All the mothers have been painted in white clothes and Shatrughna have worn similar light pink clothes. The preceptors have been show1 beard and wearing pink and ruddle-coloured clothes. Sita as well as the other wives pink-coloured sarces. Some of the pictures have been shown in motion and the others In the upper part of the painting, Rama, Lakshman and Sita have been shown i countenances greeting the mothers. Below Rama is shown making hospitality of the p At one place, having heard the sad news of the death of his father, Dasharath, been shown fainted. In upper portion, Sita is discussing with her mothers-in-law Six Limbs of Indian Painting & The Rajasthani School of Miniature PaintiAt os Rama has been shown begging apologize from his preceptors—(the rishies), ang hman 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 jg 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 tha, were painted in patronage of the ruler of Jaipur, Sawai Jai Singh, in the middle of 18th century, QUESTIONS FOR PRACTICE (Sm 1. OBJECTIVE TYPE QUESTIONS 1. Choose/select a suitable answer of the statement given below. (@) Which statement is not correct about the miniature painting ‘Raja Aniruddha Singh Hara’? (a) It was painted by Utkal Ram. (6) This painting is not related to Bundi sub-school. (c) Medium of this painting is water colour on paper. (d) Period of this painting is early 18th century. (ii) Sahibdin was a courtier painter of Mewar. Name the painting of your painted by him. (a) Maru-Ragini (6) Radha (Bani-Thani) (c) Chaugan Players (d) Krishna on Swing (iii) Painting “Bharat Meets Rama at Chitrakuta” was painted by (a) Dana (6) Nuruddin (c) Nihal Chand — (d) (iv) Which painting of your syllabus is related to Bikaner sub-school of (a) Chaugan Players (6) Maru-Ragini (c) Krishna on Swing (d) Radha (Bani- (v) How many princesses were shown in the painting Chaugan PI: (a) Six (6) Seven (c) Five ( Ans. (i) (b) (ii) (@) (iit) @) fv) © Il. SHORT ANSWER TYPE QUESTIONS-1 2. Describe the following briefly: (a) Sub-school of Bikaner painting (6) Sub-school ofThe Pahari School of Miniature Painting lopment Origin and Dev ‘The Pahari School of miniature painting originated in hill state of Basobli situated on tha bank of the river Ravi about 1690 A.D. Later, Guler, Chamba, Mandi, Kangra, Garhwal and Kullu became its main centres. Besides these, Jammu, Srinagar, Nurpur, Mankot, Nalagarh (Hindoor) and the plains of Punjab became its sub-centres. Bosides stylistic vividness, the Himalayan environment, round faces, half-moon-shaped forehead, normal sized deep eyes and normal statured men-women replete this world of miniature paintings and provide them Pahari speciality. The art of Pahari school has the following sub-schools of miniature paintings: 1. Basohli Sub-school of Miniature Painting. This style came into existence when Mughal emperor Aurangzeb had restricted all the forms of art in his court. In the middle of 17th century, the court painters/artists moved towards the hilly states. They implemented technical co-ordination of various elements of the Mughal style into the art forms previ existed there. The new form of art that came into existence was called Sub Basohli Miniature Painting. Although these artists were subservient to thei yet they were fully independent in selecting the subject matter. In their new they included only the specific elements of the Mughal style. Topics of the Painting: The painters started making paintings on abstract literary volumes such as Ras-Manjari, the Ramayana, Geet Govinda and Raa Characteristics: The paintings of this style are almost square in shape. Dou or high-towered buildings have been shown in the background of these pain environment, river, waterfall, clouds, lotus and other flowers have been used elements in the paintings. 382. Guler Sub-sehool of Mi inting. Guler is famous for both types of the paintings—individual and subjective. It wonderfully inaugurated the mysteriousness and ature P the beauty of women, ven in paintings of the Mughal The emotional disposition of Guler’s paintings is not se Characteristics: Extraordinary tenderness in colours, extraordinary execution of work, wonderful thinness in underlining, emotional delineation and the perspective provide excellence to Guler’s paintings. Fawns, cottony clouds and emotive nature are characteristics of Guler’s paintings. Kangra Sub-school of Miniature Painting. Miniature paintings of Kangra are glory of Pahari painting. In these paintings we can feel smell of the soil of that place. Tenderly engraved features of women are pleasing. angra style was on apex of its excellence in the reign of the king Sansar Chand. The pomp and show of the king’s court has been shown with the medium of thin lines and colours. The human portraits painted here are natural and beautiful. Topies of the Painting: Keshav Das’ poetry ‘Rasik Priya’ has been the lovely topic of Kangra-style painters. Radha-Krishna have sometimes been painted as a lover-beloved and the other side as an actor-actress. ‘The painters of this style have painted the love-stories of Sasi-Punno, Heer-Ranjl Sohani-Mahiwal and others. Characteristics: Red, yellow and blue basic colours are placid and decorative. Del of beautiful margins, ornaments and buildings are praiseworthy. Balanced shape and the panoramic, natural scenes, magnificence teeming with the leaves, flowers, and hills provide speciality for Kangra-styled paintings Chamba Sub-school of Miniature Painting. Inordinate bewitching, te: unusual figures of women give distinct identity to miniature paintings of Cham! painters of this style have prominently showed red and blue colours with the co-o of artistry and technique. The Pahari School of Miniature Painting5. 6. a So (etd oa 4 Le ecto [envio v Garhwal § hwal Sub-school of Miniature Painting. Garhwal style looks like Guler style, In the Paintings painted here shows charmness of colours, clarity in expression and tenderness of beauty. Systematic paintings and too developed symbolic design is the Speciality of Hindoor (Nalagarh) Art Mandi Sub-school of Miniature Painting. The paintings of Mandi are quite different from the other paintings painted in Pahari sub-schools, due to its styli tic and subjective speciality. The painting of various tant: c forms of a goddesses is the speciality of Mandi miniature paintings. In these paintings, the painters have emphasised inordinate use of dark black, red and blue colours to improve the dreadfulness of the mysterious form of the goddesses.Study of the Miniature Paintings of Pahari School ‘The following are the selected miniature paintings of this style: th @ Name : Krishna with Gopis Painter : Manaka Sub-school: : Basohli Medium: Water colourson paper Technique: Tempera Cirea : 1730 AD Collection —_: National Museum, New Del This painting had been painted by Manaku, in 1730 A.D. in Basobli style. In this painting blue skinned Krishna has been shown singing and dancing with gopis on the bank of the ri Yamuna. There are necklaces around his neck made of pearls. Down his loins he has wort vellow-coloured dhoti. Five gopies, well-decorated with multi-coloured transparent seemi apparels, have been shown in many countenances, doing coquettishness with Krishna. faces of all of them are similar, charming and with big eyes. Their eyebrows are curved a bow, sufficient rounded foreheads and long charming noses are the characteristics of painting. In the left side, there is a gopi who is trying to make something known to other wheroas in the right side, Radha is standing with folding hands with her female ait holding an umbrella in one of her hands. Her facial expression and costume are simi those of other figures. In the background have been shown multi-coloured and multi leaves of the trees. The middle part of the background has been shown in light sc which indicates the surface. This painting is a unique example of Basohli style of pain The Pahari School of Miniature Painting= oo - shna with Kinsmen going to Vrindavana | | 2. Nand, Yashoda and : Nand, Yashoda and Krishna with Kinsmen going to Vrindavana Name Painter : Nainsukh Sub-school: : Kangra Medium Water colours on paper Technique: Tempera Cirea : 1785-90.A.D. Collection _: National Museum, New Delhi , In this painting, the inhabitants of Gokul as well as Nand, Yashoda and Krishna have been shown going to Vrindavana. This miniature painting was painted by Nainsukh during the period 1785-90 A.D. Based on the episode of Bhagvat Purana and painted in Kangra style, this painting is tender, placid and bewitching. In this painting thirteen human figures have been shown. Three them have been shown swimming in the Yamuna, Rest of the figures have been shown i various countenances and wearing clothes of different colours on the other side of the river. Krishna has been shown in blue colour, half naked but wearing different ornaments ™ of gold, and a large wreath of flowers round his neck. There is a golden crown on his He is signalling with hand towards the golden buildings of Vrindavana peeping out throug the clouds; and the inhabitants of Vrindavana, Nand and Yashoda are looking that surprisingly. All the persons are half naked except Nand and Yashoda. ‘ 42> @ History of Indian Art-Xll__parerowned person, who has put on blue-coloured costume is possibly Balram. He is raising meprhis hands up singnalling towards Vrindavan, All (he human figures have worn stripped atin down the loins and their heads have also been covered with multi-coloured eaps. a the let bank of the river, there is a bird sitting on a cut stem of a heavy tree. On the other oop has been shown a sitting bird. In the right side of the painting is a tree on which have quon shown coiled round creepers. In the background, the sky has been shown surrounded sen clouds, Through the clouds, the golden buildings of Vrindavana peeping out. The ground ‘che other side of the river has been shown filled with greenery. QUESTIONS FOR PRACTICE |. OBJECTIVE TYPE QUESTIONS 1, Choose/select a suitable answer of the statement given below. (i) ‘Krishna with Gopis'is theminiature painting of Baschli sub-school It was painted by (a) Nainsukh (®) Manaku (c) Keshav Das —_(¢) Rasik Priya i) ‘Rasik Priya’ is a poetry book that was written by (a) Nainsukh ©) Manaku (c) KeshavDas — (d) Radha-Krishna (ii) Nainsukh was a painter of Kangra sub-school, his creation is known as (a) Krishna with Gopis () Heer-Ranjha (c) Sasi-Panno (d) Nand, Yashoda and Krishna with Kinsmen going to Vrindavan (iv) Which one is not known as sub-school of the Pahari School of Miniature painting? (a) Basobli (®) Guler (c) Kishangarh — (d) Kangra v) Kangra style of miniature painting was an opex of its excellence in thi of the King. (a) Sansar Chand (6) Keshav Das —_(c) Manaku (d) Nains Ans. (i) (6) wi) © (ii) @) (iv) © ©) ( I, SHORT ANSWER TYPE QUESTIONS-I 2, Describe the sub-school of Pahari School of Miniature Painting. 3. What are the characteristics of Pahari School of miniature paintings? Ul. SHORT ANSWER TYPE QUESTIONS-IL 4. Write notes on: (a) ©) © Basohli Sub-school of Miniature Painting Kangra Sub-school of Miniature Painting Chamba Sub-school of Miniature Painting Guler Sub-school of Miniature Painting @) os The Pahari School of Miniature Paintin,Umiie tit The Mughal and Deccan Schools of Miniature Painting (16th Century A.D. to 19th Century A.D.)The Mughal School of Miniature Painting origin and Development ture painting was recognised as th In medieval India, Mughal school of mi ° aristoeracy. The Mughal Art was quite different from the Sultanate Art or the Islamic ‘Art which was prevalent in Deccan Muslims’ empires, because theme, style of art, human ts of the Islamic art came from the Islamic world of Persia or Iran and figures and art he context that they were painted ‘Durkey. The paintings painted by them were Indian only in on Indian ground, but the feeling of Indianness was not in them at all. anate Art or the Islamic Art. It ‘The view of the Mughal Art was quite different from the Sult: was not only Indian but also looked Indian. The artists of that period had initiated to represent the Islam even in Indian style with the Indian subject-matter. In that way, the Mughal ‘Art was not the Islamic art at all, only the Islamic elements were included in that to make it more prosperous. On the basis of development, there are three phases of the Mughal Art: 1. Art during Akbar’s Period. Akbar is acknowledged as the father of Mughal Art. Because his two predecessor rulers—Babar and Humayun—remained busy in stabilizing the empire. When 13-year old Akbar became king, he not only stabilized the Mughal empire with his intellectual skills and expert leadership but also encouraged his architectural skills, art skills (painting) and book writing skills. For the pieturisation of the books he established a Tasvirkhana house in his court, He got a paper-mill established in Syalkot (now in Pakistan) to make compulsory and continuous supply of paper. It is because of the good attitudes of Akbar towards the Hindu and other religions that today we observe the inclusion of the best Indian as well as the best Islamic elements and themes of art. The artists of Akbar court very beautifully included the Islamic values and royal Iranian themes with the Hindu style and the Indian aesthetic sense in their paintings, So, the art could get new direction during his period. In the Akbar’s courtier, the Hindu painters were in majority but they were to work under the direction of two Iranian master artists—Mir Saiyad Ali and Abdus Samad. In that way, the elements of two different styles of painting were spontaneously included in the paintings of those artists/ painters, Akbar did not get formal education. So, he is known as illiterate king. But, he got translated the best Indian literature into Persian and the best Persian literature into 47ee Pano cee fed that when Akbar died, ther were about twenty-four thousand there Abo! tw) par di ie Fuistrated manuscripts of the world fame ature in his library. It rev' cals that, toge i "sin art, knowledge and intellectual matters as e of the Mughal Art. Nevertheless, 19 that period Be cei gatle d serialised painting of the significant volumes wey? Hamjanama, Shahnama, d, but the women | Hindustani. It is acceds Akbar’s regime was the the preference was given to syste! : of the Ramayana, the Mahabharata, Het oe Ey Pe aawe id, a few portraits Tutinama, Babarnama, etc. In that period, 6 prea alee ct fessional wor ‘aits were not allowed to paint except Pro Bain can seo the co-ordination with excellent cota gliding lines, too minute delineation, over- ‘ration, balanced body assemblage, pretty Characteristics: In these paintings, we mixture, clear execution, the vibrating or crowded but balanced figures, potential demon! round faces and full-fledged screen. Art during Jahangir Period. Jahangir was 2 very © he humans and natur‘ harp sighted and sensitive against Be 5 é the charming beauty of both t e, Poeticism and nie veness, was present in Jahangirs character. The impressions paintings of his period are more evident. The paintings of birds and animals are ‘counted among the best paintings of the world. wn with the Buropean world increased. Consequently, During Jahangir’s regime, reconciliatio > ¢ European elements of art—light and shadow, and feelings of three-dimensional aspects—were included in Indian art 3, Artduring Shahjahan Period. Shahjahan preferred architecture rather than paintings. For that very purpose, the art of his predecessor Mughals although remained continue yet it was not so effective as before. Except a selected few love-stories, such as of Darashikoh- Ranadil, Bajbahadur-Roopmati, Laila-Majnu, and the serialised painting on different themes were abandoned. Characteristics: The delineation on applied subjects such as individual delineation, courtly scenes, pageants, festivals, picnics, ote. was started to be liked. Nature and. background was more placid, tender and attractive. Decorative elements were giving preference. Romantic and fastidious Shabjahan did not like violence and vugline at all. For that very purpose in the painting of his period, there is an absence of delineation like hunting, animal fights, violence and wars or battles whereas there plenty of all the elements of symbols of beauty. Declining the Mughal Art. Aurangzeb was an orthodox Muslim. There was no place all the forms of art in his regime. Therefore, no work was left for the artists/painters ead ae Mughal court. So, they started going towards the independent provii le = ee artists went, carried with them the style of the Mughal pail Es cee ‘ing into consideration the demand of the time, the likeness, dislike fee eres and the elements of art existed beforehand, the element ees ie al ae in paintings. In this way, the new styl: av wt hae snr ae a ea is known as ‘Provincial Mughal 0 painting work continued in ly developed style of painting/art, whe pure Mughal style for a long time. 48 History of indian Art-xiL aStudy of the Miniature Paintings of Mughal School Name Kabir and Raidas Painter Ustad Faquirullah Khan Period : Shahjahan Medium Water colours on paper Technique : Tempera Circa : 1640 A.D. Collection: National Museum, New Di This miniature painting was painted by Ustad Faquirullah Khan in 1640 A.D. on the r of Dara Shikoh, the lovely son of Shahjahan. Dara Shikoh paid due respect to sufis and During Shahjahan’s regime, the fame of saint Kabir and Raidas was spread far an Having effected on this very reason, this picture was caused to make by tempera tech ter colours on paper. In this picture saint Kabir has been shown weaving cloth out of! Close to him saint Raidas is sitting on a carpet on the ground. Both the saints seem di on some mystery. The tracing of ribs on half-naked body is apparent. Both the saints turbans on their heads. In the painting, the delineation of rural surrounding is real the hut is clear, The painter seems to be successful in making the picture live with nj shades of only brown, black and white colours. On all the four sides of the pieture, U has drawn borders of sufficient width with two colours which is the speciality of that The Mughal School of Miniature Paintin,2. Krishna Lifting Mount Govardhana Name Krishna Lifting Mount Govardhana Painter : Miskin Period Akbar Medium —_: Watercolours on paper Technique ; Tempera Cirea 2 1585-1590 A.D. Collection National Museum, New Delhi DESCRIPTION ‘This miniature was painted by Miskin during the period of Akbar’s regime in 1585-1590 A.D. ‘This painting is a specific creation of Akbar’s library. This was drawn for the manuscript of Harivansh Puran, In this picture, blue-skin Krishna has been shown lifting up the multi-coloured Govardhana parvata on his left hand as if it is weightless. Krishna has worn yellow clothes. There are several multi-eoloured wreaths around his neck. One of the wreaths is made up of white, red, yellow and blue flowers and spread from his shoulders to his feet. He worn @ crown on his head which is made of peacock’s tail feathers. He has been shown bending his neck down, and saying something to those Gokul dwellers who are standing with their cattle under the umbrella-shaped hill to refrain themselves from Indra’s wrath. ‘The hill has been shown with the lights of different colours in Persian style; upon that many kinds of creatures have been shown wandering here and there. A few of the trees have been shown with green and green-yellow colours. The dense clouds, over the hill, have been shown with dark blue colour. — —_ The Mughal School of Miniature Painting52 History of indian Art-xi14, Birth of Salim oul Birth of Salim painter wee Period Akbar Medium ‘ater colourson paper Technique; ‘Tempera Cirea ss Collection = National Museum, New Delhi DESCRIPTION Thit miniature has been painted very beautifully in Mughal style cme of this painting is based on an episode of Akbar Nama, It by Ramdas in 1590 AD. The : a ‘was on the occasion on birth ce Salim the whole people of Fatehpur Sikri and courtiers played music and celebrating on. Some of them playing drum, clarinet and other instruments, Some royal officials stributing bounty to the people of Fatehpur Sikri It 1s a typical example of the later manner of Emperor's court artists. The birth scene of the of Akbar and heir on August 31st, 1569, forms the ‘subject of the upper compartment into which the picture is divided, the other two being filled with musicians and servants, with the arging excited crowd outside. Beyond is a rocky landscape. The painting is a good example of the bustling movement and stress which Akbar’s painters introduced into their work. Among other points of interest in the painting is that the upper portion is the typical bird’s eye view while for the lower panel the artist (Ramdas) is on » level with the scene depicted. The strong colour contrasts, and the marked European influence, especially in the scenery and apparel, are especially evident in this painting. Artist—Kamdas (final two decades of Akbar regime). Ramdas was miniature painter in Akbar regime (1556-1605). He worked on many miniature paintings. His one productions is the illustration of the autobiography of the first Mughal emper 30), the Baburnama, the manuscript was presented to Akbar in 1589. He contri of the major productions of the royal workshop during the final two dec emperor Akbar. The Mughal School ofFalcon on a Bird-Rest History of Indian Art-xil____I}insted_chowige to equalising 4, Falcon on a Bird-Rest Name Falcon on a Bird-Rest Painter : Ustad Mansoor v Period came ae os : Jahangir ia a 5 Cte Technique; Tempera Collection; Maharaja Sawai Man Singh, Museum, Jaipur DESCRIPTION This is the best spe : 4 pecimen of bird painting composed in Jahangir’s atelier. Preserved in the Jahangirnama this beautif i esse wutiful, charming painting was painted by Ustad Mansoor in It is supposed that this falcon was presented (gifted) to Jahangir by Shah Abbas, the Emperor of Iran. Later it was killed by a cat. Jahangi . Jahangir’s rare and . ss preserved in Jahangirnama. gi ire and excellent pet-faleon, as a picture, is The bird is painted in a white against the yellow background contrasted with the brownish black feathers of its folded wings. An isolated figure of the falcon shown on its perch in rigid profile is centrally positioned in the composition. Dark brown markings all over the wings suggest that it is in the likeness of the pet-falcon of Jahangir. ‘The expression of cruelty in its eyes is an item of great astonishment to those who have seen. it. The sharp beak and round vigilant eyes are painted in shades of deep yellow ochre, The patches of dark brown marks are shown on the back feathers of its neck. A thin string is tied around the falcon’s neck and hangs loosely to the ground. Paris of an inscription in Devnagri script are still visible in the painting. Three words Jahangir Paat Syah’, Bahari’ and ‘Uttam’ are written which perhaps refer to the emperor's best faleon In all the four sides is made border with black colour, on which golden coloured fis drawn. ‘This is the speciality of the paintings painted in Jahangir’s regime. The Mughal School of MiniatureMarriage procession of Dara Shikoh = : Marriage procession of Dara Shikoh, as : Haji i Painter laji Madni Period > Provincial Mughal Medium Water colours on paper Technique; re sron 1740-50 A.D, ee Cires Collection —_: National Museum, New Delhi pESCRIPTION jadni has composed this miniatu technique of water coli re very placidly and clearly on a bigger pa ith : ; ger paper, wi i enaive’ padre anes Our during the period of 1740-50 A.D. In this multi-coloured and aie por one is On the dat easons has been shown on the right side standing on the ground and s lu 2 le mounted on horses of different colours and elephants which i ie cae ee ue shown the distinctive marriage procession of Dara Shikoh. The ce oon have also bese moa nn’ members of groom side. A few male members of marriage ae é hh a nm mounted on elephants for beating the big-sized kettle-drums. On the right side, the painter has shown a well-equipped group of people of the bride family. Ladies are also included in this group. These persons have been shown waiting eagerly to welcome the groom and other associates. Inthe middle of the picture, the painter has shown Dara Shikch mounted on a hale and hearty dark brown coloured eaparisoned horse, in well-decorated royal apparels, covering his face with the strands made of pearls. The persons of the royal family are standing together with him. Behind him has been shown Shahjahan mounted on a caparisoned horse, in royal apparels and manner. Around his face has been shown halo with green colour. In the background, some space has been left blank. The colourful display of fireworks has been shown in back part of the picture. In front part a young boy has been shown dancing. Some persons of the bridegroom's side, taking a well-equipped platter as a gift, are standing in the front row. Orderly constructi sround the four sides of this painting with red and blue colours on a base of golden used as a border. The skills and endurance of the painter is praiseworthy. This pai unique example of Subai Mughal Style or Provincial Mughal Style. QUESTIONS FOR PRACTICE I. OBJECTIVE TYPE QUESTIONS a suitable answer of the statement given below. 1. Choose/selee “Ustad F inter of Shahjahan Period, (® Ustad Faquirullah Khan was the famous pai painted as a Miniature Painting . z i rth of Salim i Li Mount Govardhana (6) Bi 0 ee (d) Kabir and Raidas (c) Falcon ona bird-rest ‘ a (ii) Who were two master artists from os in the Akbar’s courtier? (a) Ustad Faquirullah Khan and Miskin (b) Mir Saiyad Ali and Abdus Samad The Mughal School of Miniature Pail elt taeThe Deccan School of Miniature Painting jecani art denotes broadly the miniatures re, ‘ndered from 16th to 19th century A.D. at Bijapur, mednagar, Golconda and Hyderabad. These independent states have their own distinct aphical and historical identity known a: Jture, dramatics, linguistics, \d ideas. 's Decean. Decean has its own distinction in art, social values, costumes, religious beliefs, thoughts style and themes in Deccani miniatures are an amalgamation of various art elements d influences, Specially the elements of early indigenous art traditions of the amie idiom of Iran, Persia and Turkey. Deccan and the larly phase e} volved at the Adil Shahi court of Bijapur in the be, p 1489-90 A.D., an Iranian immigrant, Yusuf Adil Shah, ‘ah, founded at Bijapur the Adil Shahi rule. On his invi hurkish painters, ginning of the 16th century. , a soldier rising to the height of a itation, several Irani, Persian and calligraphers and scholars came to his court. Skilled in Islamic art-style, ese immigrating artists rendered paintings on pure Islamic themes and in a pure Islamic iom. It was an Indian art only to the extent that it was rendered on Indian soil. The art of hose Islamic painters was confined to text illumination, number of descendants of Yusuf Adil Shah had a great fascination for art and patronised oday, except for a few illuminated copies of the Holy Quran or its Surahs and those # the legends like Anwar-i-Suhati and Yusuf-Zulekha of the period of Quli Intab Shah hone of the works rendered under them is now available, tists, n these Deccan works, the art of painting had a role confining to text illumination and iecoration, Blue, red and pink, the chosen colours of Decean Art ‘used in strong tones define this Phase. Designing patterns have a geometric thrust and tend to be highly symmetrical, The second phase started when the later generations of Muslim rulers of Deccani states, Bijapur, Golconda, Ahmednagar and subsequently Hyderabad had their roots on Indian soil. They did not feel any attraction towards Turkey and Persia. They were inclined even to Indian 59