by Rahul Sengar Sir INDIAN ART AND CULTURE (TOPIC COVERED: INDIAN PAINTINGS) PRINCIPLES OF PAINTING + Around 100 BC -> the Sadanga or Six Limbs of Indian Painting, were evolved, a series of canons laying down the main principles of the art. + 300AD: Vatsyayana enumerates Sadanga in his Kamasutra Six Limbs + Rupabheda —> knowledge of appearances, Pramanam > Correct perception, measure and structure, Bhava —> Action of feelings on forms. Lavanya Yojanam— Infusion of grace, artistic representation, Sadrisyam > the quality or state of being similar to something, Varnikabhanga -> Artistic manner of using the brush and, colours. (Tagore) ‘Subsequent development of painting by the Buddhists >" ‘Six Limbs’ were put into practice by Indian artists, and are the basic principles on which their art was founded. representation of the myths and lore on. ine drawings and sketches. + Dhuli Chitra: floor decoration + Pata Chitra: on cloth or paper + Bhiti Chitra: On murals ‘Mudrarakshasa by Vishakhadutta -> facilitated the reader by mentioning the name of various paintings or patas —> important to understand the different style of paintings and to observe all the principles of paintings. Styles of Paintings Major features + Cauka Pitaka: Isolated framed drawings + Dighala Pitaka :Long scrolls of paintings + Yama Pitaka :Isolated paintings PRE-HISTORIC PAINTINGS + Generally executed on rocks engravings called as Petroglyphs + first set of prehistoric paintings was discovered in Bhimbetaka caves in Madhya Pradesh,Lakhudiyar ‘caves(Uttarakhand) + Theme: Animals ike bison, beers and tigers etc, > ‘Zoo Rock Shelter’ because it depicts elephant, rhinoceros, «ttle, snake, spotted deer, barasingha, etc Major phases of pre-historic paintings Upper Paleolithic Period (40000-10000 BC) + Most common mineral : Ochre or geru + lime and water ‘They used different minerals to make colours like red, white, yellow and green, Large animals (Bison, Elephant, Rhino, Tigers) —> white, dark red and green + Human figurines: Red —> hunters; Green mostly for dancers (Humans are presented in stick-like forms). Mesolithic Period (10000-4000 B + Colour: Red mainly + Size: Smaller + Theme: Group hunting, grazing activity and riding scenes. Lakhudiyar Cave,Uttarkhand CHALCOLITHIC PERIOD + Colour : More use of green and yellow. + Theme: Battle scenes,men riding horses and elephants. Some of them even carry bow and arrow. Paintings to show skins of spotted deer left for drying > the art of tanning skins was perfected by man for providing shelter and clothing.by Rahul Sengar Sir + Paintings have complex geometrical shapes like the spiral, rhomboid and circle, Jogimara caves in the Ramgath hill in Surguja district of Chhattisgarh. Shelters depict the human figurines, animals, palm prints, bullock carts, etc. > higher and sedentary type of living. + Similar paintings can be seenin the Ghodsar and Kohabaur rock art sites in the district of Koriya (Chhattisgarh) ‘Another interesting site isn Chitwa Dongri (Durg district) where we finda chinese figure riding a donkey, pictures of dragons and agricultural sceneries. BHIMBETKA ROCK PAINTINGS (BHOPAL,MP) + Vidhyan ranges of MP + 2003: UNESCO World Heritage Site + Time Periods: Upper Paleolithic, Mesolithic, Chalcolithic, carly historic and medieval period but mainly Mesolithic age. Theme: + Generally portray every-day life of pre-historic men often in stick-like human figures ‘Animals like elephant, bison, deer, peacock and snake are depicted. Hunting scenes +war scenes with men carrying weapons like bows, arrows, spears, shields and swords. Simple geometric designs and symbols. + Other themes :dancing, playing music, animal fighting, honey collection, et. Children playing, women making food, community dancing > Social Life. + Colours like red ochre, purple, brown, white, yellow and ateen are used ‘CLASSIFICATION OF INDIAN PAINTINGS MURAL PAINTINGS: MINITURE PAINTINGS Works on the walls or a Derived — latin word minium’ solid structure => red lead paint 10" century be and 10" century ad Either in natural caves orin rock-cut chambers ‘Small and detailed paintings. Size: max 25 square inch Subject: maxi/6” of the actual size. Unique because of their[Human figurine mostly sheer size side profile. + Bulging eyes, pointed nose and slim waist. Mughals paintings > fairer ‘than rajasthan (brown) Lord krishna > blue. Follow a theme, the most being hindu, | women figurines :black long buddhist and jain hair= balckeyes (Often painted for either books cor albums, on perishable material including paper, palm leaves and cloth, common Ex: Ajanta,armamalaicave, ravan chhaya rock shelter, bagh caves, ssittanavasal caves and kailasanatha temple in ellora Method Of Paintings True Fresco Method Piement go deep nse the wal pr pore’ or Fresco-Secco- + Method of paiting Slime plastered Surface ay fst end then drenched ‘wth ea ne wate AJANTA CAVE PAINTING + Both murals Unique feature—> each female figurehas a unique hairstyle. Even animals and birds are shown with emotions. Common themes: Jataka stories to life of Buddha to elaborate decorative patterns of flora and fauna + Medium of painting: Vegetable and mineral dyes. The outline of the figures is red ochre, with contours of brown, black or deep red.IMPORTANT PAINTINGS OF AJANTA Vajrapani (protector and guide, a symbol of Buddha's power) + Manjusri (manifestation of Buddha's wisdom) and Padmapani compassion). (Avalokitesvara > symbol of Buddha's + Jataka stories The Dying Princess in Cave. no 16. + Scene of Shibi Jataka — King Shibi offered his own flesh to save the pigeon, ‘Scene of Matri-Poshaka Jataka > ungrateful person saved, by an elephant, gives out his whereabouts to the king. JATAKA STORIES Previous births of Gautama Buddha in both human and animal form: +The Ass in the Lion's Skin (Sihacamma Jataka) by Rahul Sengar Sir The Cock and the Cat (Kukkuta Jataka) + The Foolish, Timid Rabbit (Oaddabha Jataka) ‘The Jackal the Crow (Jambu-Khadaka Jataka) ‘The Lion and the Woodpecker Uavasakuta Jataka) ‘The Ox Who Envied the Pig (Munika-Jataka) +The Swan with Golden Feathers (Suvannahamsa Jataka) king Shibi (Shibi-Jataka) ‘The Turtle Who Couldn't Stop Talking (Kacchapa Jataka) MAJOR BODHISATTVAS Avalokitesvara encompasses all Buddhas. In China he is known as Guanshiyin Pisa in tibetan as Chenrezig, in Thai as Avalokitesuarn. He is said to incamate in Dalai Lama, He is depicted as holding a lotus flower. He is depicted as female also. A cave wall painting of Avalokitesvara is devoted in Ajanta Caves as Padmapani. Manjusti He is known as Wenshu in Chinse, Jampelyang in Tibetan and is a manifestation of great meditation. Mafjusti is depicted as a male bodhisattva ‘wielding a flaming sword in his right hand. Samantabhadra means Universal Worthy and he is associated with meditation. Known as Fugen Bosatsu in Japanese and very popular in Japan among the Tendai and Shingon sects. His manifestation is Action and he is key figure in Flower Garland Sutra isdom and Ksitigarbha is usually depicted as a Buddhist monk in the Orient / East Asia. Ksitigarbha means Earth Womb. he is regarded as Bodhisattva of Earth or Hell beings ‘or Mortals. He is regarded as guardian of children and patron deity of deceased children and aborted fetuses in Japanese culture. he carries a staff Maitreya will be successor of Gautama Buddha. He is also known as Ajita Boddhisattva. He holds a “water phial” in his left hand, Earliest mention of Metteyya is in the Digha Nikaya 26 of the Pali Canon. It is said that he will arrive ‘when oceans will decrease in size(that is why keeps a Kumbha or philial in his hand) and will rule the Ketumati Pure Land (Varanasi), We note here that popular Budai or laughing Buddh claimed to be an incarnation of Maitreya. Budai was a ChineseZen monk who lived during the Later Liang Dynasty (907-923 CE) in China. In Japanese, he is called Hotel and is one of the 7 Lucky Gods of Japan, Vajrapani is depicted as one of the 3 protective deities around Buddha, other are Manjusri and Avlokiteshwara, Vajrapani manifests Buddha's power, Manjusri manifests Buddha's wisdom and Aviokiteshwara manifests Buddha's compassion. In Japan a dharma protector called Vajrapani Sadaparibhuta disparaging’ spirit ‘Akasagarbha is boundless as space. He is known as twin brother of Ksitigaroha, He is menifestation of wisdom, is a Bodhisattva which manifests “neverby Rahul Sengar Sir Mahasthamaprapta is a mahasattva representing the power of wisdom, often depicted in a trinity with Amitabha and Avalokitesvara, especially in pure land buddhism. His name literally means arrival ofthe great strength? ELLORA CAVE PAINTINGS Found in ive caves, mostly limited to Kailasa temple +The paintings are related to all three religoins (Buddhism, Jainism and Hinduism) Prominent Paintings: + Images of Goddess Lakshmi and Lord Vishnu Images of Lord Shiva with his followers. + Beautiful and gracious Apsaras. BAGH CAVE PAINTINGS Extension to the Ajanta school (quite similar) + Difference + figures are more tightly modeled, have stronger outline, and are more earthly and human + Cave no. 4 > Rang Mahal(beautiful murals on the walls depicting Buddhist and Jataka tales) Paintings depict religious themes in the light of contemporary lifestyle of people > more secularinnature ARMAMALAI CAVE PAINTINGS Situated in Vellore district of Tamil Nadu natural caves ‘were converted into Jain temple in 8° century. + The beautiful colourful paintings on the walls and roof depict the tales of Astathik Palakas (deities protecting ‘eight corners) and Jainism. SITTANAVASAL CAVE (ARIVAR KOIL) PAINTINGS, Pudukkottai town in Tamil Nadu + Known for the paintings in the Jain temples Close resemblance to Bagh and Ajanta + Paintings: walls +ceiling + pillars ‘Theme of Jain Samavasarana (Preaching hall) -> special, beautiful audience hall where Tirthankaras delivered sermons after they reached realisation (kevala-gnana). Central element of the paintings in Sittanavasal is a pond with lotuses RAVAN CHHAYA ROCK SHELTER Located in the Keonjhar district of Odisha. ‘Ancient fresco paintings on a rock shelter are ina shape of half-opened umbrella Shelter acted like the royal hunting lodge. Noticeable painting is that ofa royal procession that dates backto 7 century. LEPAKSHI PAINTINGS. Anantapur district of Andhra Pradesh. Paintings were executed on Veerabhadra temple walls at Lepakshi in 16" Century > Vijayanagara period. + Theme: Ramayana, Mahabharata and incarnations of Vishnu, + Acomplete absence of primary colours, especially blue. forms, figures and details of their costumes are outlined, with black colour.JOGIMARA CAVE PAINTINGS + Anattifcially carved out cave located in Surguja district of Chattisgarh + Theme: Dancing couples, animals lke elephant and fish. +The paintings have a distinct red outline. Other colours like white, yellow and black are also used, Rock-cut theatre of Sitabenga is also located nearby. BADAMI CAVE TEMPLES, KARNATAKA. + One of the earliest surviving Hindu paintings. + Themes: Chalukyan kings, Jain saints giving up worldly life, Shiva and Parvati, Puranic events and deities are depicted. Cave 3 stil is adorned with beautiful ancient mural showing four-armed Brahma on his swan. + Early Miniature (8 and 12 centuriesfastemn and Western Region). + Pala School of Art 750-1150 AD). + Generally found as a part of manuscripts and were generally executed on palm leaf or vellum paper. + Buddhist monks mostly used them and as their religion. practiced non-violence against all living beings, there was stipulation to only banana or coconut tree leaves + Mostly lonely single figures and one paintings. ly finds group by Rahul Sengar Sir + Vajrayana school of Buddhism also used and patronised these paintings. + Prominent painters: Dhimman and Vitapala APABHRAMSA SCHOOL OF ART Gujarat and Mewar region in Rajasthan —> 11" to 15% century. + Them Jain + later period Vaishanava School. brought in the concept of Gita Govinda and secular love into these paintings that were otherwise dominated by the Jain iconography. Early Jain phase, the paintings were made on Palm leaf —> Later Paper. Did not develop a different style but were mural paintings ina reduced dimension. Human figures > fish-shaped bulging eyes; a pointed nose anda double chin, + The animal and bird figurines in the paintings are represented as toys, Most famous example is ofKalpasutra jain ext for Mahavir and Parsvanath) and the Kalakacharya Katha (Jain) from 15% century. ‘TRANSITION PERIOD MINIATURE + Coming of the Muslims on the Indian subcontinent cultural synthesis took place. + Colours :2 flat manner and the dress and human outlines are demarcated in black. The view of the faces is from a three quarter angle and, gives a detached appearance. + The landscapes are full of trees, rocks and other designsby Rahul Sengar Sir Features of Indian Miniature + Most human Character are seen with side profile + Bulging eyes, pointed nose, slim waist. + Skin colour: 8rown, + Skin colour of rishna is blue. +Traditional indian dress us painted, + Man have turban on their head. MINIATURE ART DURING DELHI SULTANATE Persian elementsibright and pure colouring, more important figures may be somewhat larger than those around them, and battle scenes can be very crowded. indeed) of their origins + the Indian traditional elements Preference to illustrated manuscripts + Examples: Nimatnama (a book on cookery) during the reign of Nasir Shah who ruled over Mandu. (synthesis of the indigenous and Persian styles). Another style called the Lodi Khuladar was also prevalent. in this period that was followed in many of the Sultanate dominated regions between Delhi and Jaunpur. + Later, three major styles emerged that dominated the medieval landscape ~ Mughal, Rajput and Deccan. MUGHAL ERA MINIATURE PAINTING + Achange in colour palette, themes and forms + Focus shifte I: Depicting the god -» glorifying the ruler and showing his lifethunting scenes, historical events and, other court related paintings). + Persian naturalistic style + opulence of a great dynasty > created some beautifuly illustrated folios. + Unique — use of brilliant colours. ‘Made only miniature paintings but llustration in paintings. are considered amongst the most unique paintings in the world. + Technique of foreshortening to the Indian painter's repertoire, BABUR + Didnot have much time. Patronised the Persian artist called Bihzad — illustrations of the Mughal family tree Humayun a great patron of arts At Shah Abbas's court in Persia —> acquired the services of two main painters called Abdus Samad and Mir Sayyid. All > came back to India —> Persian influence in the Mughal paintings and created many successful illustrated albums. During Akbar’s reign, they created an illustrated manuscript called Tutinama (Tale of a parrot) AKBAR Establishment of an entire department and a formal artistic studio called Tasvir Khana —> artists were hired on salary and they developed their own styles influence, > Indian Use of 3D figures and the continued use of foreshortening Transformation of popular art to the court art, -» more focused at depicting the scenes of court life than the life of the masses. Awards to those who created lifelike images. + Encouraged the use of calligraphy. + Famous painters: Daswant, Basawan and Kesu, + Prominent _ illustrated Hamzanama, Anvar- manuscripts: Tutinama, JAHANGIR Mughal zenith paintings reached its + Theme: Naturalist > paintings of flora and fauna, Decorated margins > around the paintings that were sometimes as elaborate as the paintings themselves. + Jahangir had his own private ‘workshop although no major work by him survives. Most famous amongst ‘them were the naturalistic paintings of the Zebra (portrait painting started), the turkey and the cock. artist: Ustad > an expert in drawing the features of the most complex faces. An animal fable called Ayar--Danish (Touchstone of Knowledge) was illustrated during his reign + Famous MansoorSHAH JAHAN + Tenor of the Mughal paintings changed rapidly. + Inspired by the European influence —> liked to create artificial elements in the paintings —> reduction in the liveliness of the paintings and bring in unnatural stillness. + Eschewed the use of charcoal to draw and encouraged the artists to draw and sketch using a pencil Increase the use of gold and silver in the paintings. + Liked brighter colour palettes. Mughal atelier was enlarged during his reign but changed alotin style and technique. by Rahul Sengar Sir Later, in more peaceful times, the city of Udaipur was established + Early Mewar painting -> dominated by the extraordinary figure of Sahibdin. This period of Mewati painting focuses on Sahibdin’s depiction of literary texts ~ the Rasikapriya, ‘the Ramayana and the Bhagavata Purana, After Sahibdin's death -» Painting's style changed. Mostly > life at court in Mewar. The unique point of this period is the extraordinary ‘tamasha’ paintings -> court ceremonial and city views in unprecedented detail ‘AURANGZEB Did not encourage painting and as a result, large number ‘of mughal court painters started migrating to the provincial ‘courts in Rajasthan. REGIONAL SCHOOLS OF ART Sub-imperial Schools developed a space for them by developing their own styles. They remembered their Indian roots and a penchant for colourful paintings as opposed to the more naturalistic Mughal styl. RAJASTHANI SCHOOLS OF PAINTING + Synonymous to the Rajput school of paintings Different iews: Migration from Mughal Court -> Arrival in Bikaner, Jodhpur, or Kishangarh of artists from the Mughal atelier that sowed the seeds of local Rajput schools. + Influx of artists and artworks from the Deccan sultanates played a decisive role. + local and indigenous artistic traditions pre-dated the arrival of Mughal influence in these centres. Point to the ‘ganga-jamuni’ confluence of cultures in Sultanate courts SUB- GENRES OF RAJASTHANI PAINTINGS Mewar School of Painting + Mewar resisted Mughal suzerainty for the longest timeeventually acceding to Mughal power in the reign of Shab Jahan. kingdom's capital moved from Ranthambhore and Chittorgarh, KISHANGARH SCHOOL OF PAINTING ‘Associated with the most romantic legends ~ Sawant Singh and his beloved Bani Thani Interplay between Sawant Singh the prince and lover, Nagari Das the poet, and Nihal Chand the painter. + sometimes argued that the women in ‘Bani-Thani’ > resemble the character of Radha, They also made many paintings on the devotional and, amorous relations between Radha and Krishna, BUNDI SCHOOL OF PAINTING ‘Twin kingdoms > Bundi + Kota =Hadoti + Devout devotees of krishna18th century, > mere regents( ruling on behalf of the god )who was the true king (similar patterns of worship in Udaipur and Jaipur) Bundi school, paintings of local vegetation were in detailby Rahul Sengar Sir + Human faces were round with pointed nose in the paintings. Colour of sky is painted in different colours and mostly a red ribbon is visible in the sky. AMBER-JAIPUR SCHOOL OF PAINTING + Also called the ‘Dhundar’ school and their earliest evidences come form the wall paintings at Bairat in Rajasthan, + Can also be seen from the palace walls and mausoleum of ‘Amer palace in Rajasthan. menfolk are shown wearing mughal style clothing and, headgear, the overall finish of the paintings is folkstyled. + school reached its zenith in the period of Sawai Pratap Singh in the 18° century. Suratkhana orthe departmentofpaintingmade miniatures to illustrate Bhagwata Purana, Ramayana, Ragamala MARWAR SCHOOL OF PAINTING ‘Most extensive schools > Jodhpur and Bikaner, both ruled by the Rathods and Jaisalmer that was ruled by the Bhatis + 15% and 16% century, the men wore colourful clothing and. so did the women, + After the 18% century, the Rajput element became predominant, for example, there was an influx of paintings that contained linear rhythm coupled with bright colours. ‘Man Singh (1803-1843) and after. He commissioned ‘extensive series of paintings including the Shiva Purana, Natacharitra, Durgacharitra, Panchtantra, et. Dart | Rajputstyle ‘Mughal style Type | initallybasedon [itis based on the mural and fresco | Persian miniature forms. In the painting style later period, the miniature painting form became dominant. Themes [Usually devotional | Mughal emperor and orreligiousin | his household{royal nature pomp and show, the battles and the hunting scenes are also very popular Peculiarity [Uses Hindu They focus either symbols lotus, Jon the personin the peacock and swan). | picture or on trees, camels and falcons 17-18th century | 16th to 18th century was the major period PAHARI STYLES OF PAINTING Developed in the sub-himalayan states that were also under the umbrella of Mughal over lordship. ‘Two groups: + Jammu or Degra School: Northern Series Basholl (17 Century) + Kangra School: Southern Series. + Themes :mythology to literature. Bring several figures into the canvas and they would all be full of movement. Each figure is different in composition, colour and pigmentation. + Famous painters: Nainsukh and Manaku. BASHOLI SCHOOL 17 century Painting in Paha. + Early phase: Expressive faces + receding hairline + big ‘eyes (shaped like lotus petals characterise i + Use alot of primary colours (red, yellow and green) Used the Mughal technique of painting on clothing but developed their own styles and techniques.+ Contrast of colours is associated with this school and they are borrowed from the Malwa paintings. + Vpatron:RajaKirpal Singh who ordered theillustration of. Bhanudatta’s Rasamajar, Gita Govinda and the Ramayana drawing, iter: Devi Das who was famous for his + Famous ps depiction of Radha Krishna and the portrait of kings in their livery and in white garments. KANGRA SCHOOL, + Decline of the Mughal empire, Trained artists migrated to the Kangra region as they got patronage by Raja Govardhan Singh in 1774, Led to the birth of Guler- Kangra School of paintings. It first evolved in Guler then came to Kangra. + Reached its zenith under the patronage of Raja Sanser Chand -> paintings were marked with a sensuality and intelligence that the other schools lack + Theme: Gita Govinds, Bhagwata Purana, Satsai of Biharilal ‘and Nal Damyanti. Love scenes of Krishna + Famous group of painting +The Kangra school became the parent schoo! to the other ateliers which developed in the region of Kullu, Chamba and Mandi Fwelvemonths’ RAGAMALA PAINTINGS + ‘Garland of Ragas’ + Classical example of the amalgamation of art, poetry and classical music in medieval Indi by Rahul Sengar Sir Pahari Ragamala, Rajasthan or Rajput Ragamala, Deccan Ragamala, and Mughal Ragamala Each raga is personified by a colour describing the story of @ hero and heroine (nayaka and nayika) in a particular mood. Elucidates the season and the time of day and night in which a particular raga is to be sung. Also demarcate the specific Hindu deities attached with the raga, lke Bhairava or Bhairavi to Shiva Sito Devi ete ‘The six principal ragas present in the Ragamala are Bhsirava, Deepak, Sri, Malkaush, Megha and Hindola MINIATURES IN SOUTH INDIA Different from the north Indian schools owing to the heavy use of gold in these paintings. Furthermore, they concentrated on painting divine creatures much more than painting the rulers who patronized them, DECCAN PAINTING During the reign of Aurangzeb, Many Mughals Painter soght refuse in the Deccan. Three distinct schools of art developed viz. Deccani Paintings, Mysore paintings and Tanjore Paintings. Deccani school developed independent, of the Mughal style in the beginning, but later, as the mughal artists started migrating to down south, the school ‘Tradition of the early Deccani painting continued long after the extinction of the Deccan Sultanates of Ahmednagar, Bijapur and Golconda The types of Deccani paintings are given below. AHMEDNAGAR SCHOOL OF PAINTING + Patronizes {ussain Nizam Shah | of Ahmednagar. Significant illustrated manuscript is Tari Sha + Choli, long pigtails, braids with tassel in ending were seen in the northern costume. These paintings exhibited Persian influences like the landscape, gold sky, and high horizon.by Rahul Sengar Sir HYDERABAD SCHOOL OF PAINTING Itwas developed in 1724 after the foundation of Asaf Jahi dynasty by Nizam-ul-Mulk Chin Qilj Khan. + Notable Work :"Princes in the company of maids" ‘These paintings used Deccan facial types, rich colours, and, costumes. ‘TANJORE PAINTINGS (IN NEWS) Famous for the special style of | decorative paintings. + Material: Glass and board. BUJAPUR SCHOOL OF PAINTING + Use of brillant saleut patterns and the liberal + Patronage: Ali Adil Shah | and his successor Ibrahim Il tse of gold leaf + Notable work: Najum-al-ulum (Stars of Sciences). Used many types. The painting exhibit a rich colour scheme, animals, palm, of gerard trees, men and women belong to the Deccan tradition. my ee (4 +The paintings showcase a generous use of gold colour. embellishments to create larger than life images + Theme: Smiling Krishna in various poses and various ‘major events in his life Reached their zenith under the patronage of Sarfoji Maharaj Currently, this school is still operational but they have moved towards experimenting with diverse subjects like birds, animals, buildings etc. MYSORE PAINTINGS + Theme: Hindu gods and goddesses. Two or more figures in each painting and one figure predominates all the others in size and colour. They use the ‘gesso paste’, (mixture of zinc oxide and. Arabic gum) —> shining. + to counter it > use of muted, + Patrons: Qutb Shahi rulers. colours that are not so bright. + These paintings show dancing, + Two more notable pi and the'Lady smoking Hooka! GOLCONDA SCHOOL OF PAINTING ‘Lady with the Myna bird’ MODERN PAINTINGS Company P: Colonial period > British Company officers employed painters (trained in Indian styles) — Hybrid style of painting (elements of Rajput, Mughal and other Indian styles of painting with European elements paintings).+ European tastes with their Indian training, This was called the ‘Company Paintings’ + Distinguished: Use of water colour and in technique by the appearance of linear perspective and shading. Originated in Kolkata, Chennai, Delhi, Patna, Varanasi and, Thanjavur, + Sewak Ram, Ishwari Prasad and Ghulam Ali Khan, BAZAAR PAINTINGS. + Influenced by the European encounter influence but took the Roman and Greek influence. » No Indian ‘School was prevalent in the Bengal and Bihar region. Them + Greco-roman heritage Everyday bazaar background), + Religious themes but the figures of Indian Gods and Goddesses with more than two axes and elephant faces like that of Lord Ganesha were prohibited —> why? —> deviated from the European notion of natural human. figurine. (Indian bazaars with European RAJA RAVI VERMA (KERALA) + One of india’s greatest painters. Considered to be the originator of the school of modern, painting, + Modern’ > Heavy influence of western techniques and themes. (elements of South Indian painting with the ‘western techniques of colour and style). ‘Raphael of the East’ -> Brush strokes and almost lifelike paintings, + Famous works: Lady in the Moonlight, Mother India, Ravana Kidnapping Sita u by Rahul Sengar Sir BENGAL SCHOOL OF ART Supposed to have a reactionary approach to the existing styles of paintings in the 1940-1960. Unique as they use simple colours. Idea of the Bengal school came up with the works of ‘Abhanindranath Tagore n early 20° century. ‘Arabian night series made a mark on a global scale as it broke away from the previous schools of Indian painting and brought.n something new. Incorporate Swadeshi values in India art and tried to reduce the influence of Western art style among artists + Important Painting: Bharat Mata and various Mughal themed paintings. Other notable painter ofthis school is Nandlal Bose. He was also associated with Santiniketan. He is known for his white-on-black Gandhi sketch, which become iconic during 1930s. He was also entrusted with the task of illuminating the original document of the Constitution of india Rabindranath Tagore: His paintings are unique as they used dominant black lines -» made the subject look very. prominent. Other famous painters of Bengal school are Asit Kumar Haldar, Manishi Dey, Mukul Dey, Hemen Majumdar Sunayani Devi etc. CUBIST STYLE OF PAINTING Inspiration from the European Cubist movement. Objects were broken, analysed and then reassembled. The artist reconstructed this process on the canvas through the use of abstract art forms. Tried to achieve the perfect balance between line and, colour. MF Hussain, who made a series of paintings called the ‘Personification of Romance’. In the paintings that used abstract connotations, he used the motif of a horse frequently as it was best to depict the fluidity of motion,by Rahul Sengar Sir PROGRESSIVE ARTISTS GROUP + In 1947, another group of painters grabbed the attention of the art world by their use of progressive and bold. themes, Amalgamated these themes with softer and more abstract, themes, + Lacked any uniformity among themselves but were inspired by European Modernism. + More famous members: SH Raza, H.A Gade, Araetc. Even the famous cubist painter M.F Hussain was a member of the Progressive Artist Group. FOLK PAINTINGS Madhubani Paintings/Mithila paintings. + Theme : Religious motifs ofthe Hindus, including Krishna, Rama, Durga, Lakshmi and Shiva +The figures in the painting are symbolic, for example, fish, depicts good luck and fertility. ‘Also made depicting auspicious occasions like birth, martiage and festivals. + Flowers, trees, animals, etc. are used to fill any gaps in the painting. Traditionally, these were painted on walls using rice paste and vegetable colours on a base of cow dung and mud. + Now: handmade paper, clothes and canvas, stil the natural colours were used. + No shading -> Paintings are two-dimensional Double line border, bold use of colours, omate floral patterns and exaggerated facial featuresfl + Given Gl (geographical indication) status R PATTACHITRA Traditional painting of Odisha Sanskrit word patta > canvas/cloth and chitra means picture Show a mix of classical and folk elements. + Colours: from natural sources including burnt coconut shells, Hingula, Ramaraja and lamp black + No pencil or charcoal s used. Finally painting is given a coating of lacquer to give it a glossy finish. + Themes: Jagannath and Vaishnava cult, sometimes from Shakti and Shaiva cults. Pattachitra on palm leaf -» talapattachitra, PATUA ART (WB) Started out as avillage tradition by painters telling Mangal Kavyas or auspicious stories of Gods and Goddesses. Paintings are done on pats or scrolls. + Painted on cloth and told religious stories. Usually used to comment on political and social issues. ‘These patuas mostly come from Midnapur district of the state. KALIGHAT PAINTING ‘Around the Kalighat temple in the then British capital (Calcutta) Water colours were used on mill paper using brushes made of calf and squirrel hair + the paintings depicted religious note express social sentiments. + Kalighat paintings are considered first of its kind in the country to express subaltern sentiments and address customers directlyPAITKAR PAINTING + Area: tribal people of Jharkhand, Old form of painting has cultural association with Ma ‘Mansa, one of the most popular goddesses in tribal household + Common theme What happens to human life post death. + In Santhal tribe of Jharkhand, Paitkar painting is considered to have the capacity to send the wandering souls of the dead to heaven, and thus, help to free them from all pain KALAMKARI PAINTINGS Kalam — a pen made of sharp pointed bamboo, used to regulate the flow of colours. The base is cotton fabric. + Main centers: Srikalahasti and Machilipatnam in the state ‘of Andhra Pradesh, Images are drawn free hand. + Inspiration comes from hindu mythology. by Rahul Sengar Sir WARLI PAINTING Watlis, indigenous people that occupy mainly the Gujarat- Maharashtra border. Close resemblance to Bhimbetka, ritualistic paintings have a central motif of a chaukat or chauk, which is surrounded by scenes portraying fishing, hunting, farming, dances, animals trees and festivals. Goddesses -> Palaghata (goddess of fertility) Gods —> spirits that have taken human form. Traditionally: Walls using very basic graphic vocabulary, including a triangle(from conical shaped trees ), a ircle(from sun or moon) and a square(sacred enclosure or piece of land) The base is made of a mixture of mud, branches and cow dung that gives ta red ochre colour. For painting only white pigments used, which is made of a mixture of gum and rice powder. ‘THANGKA PAINTING ‘Sikkim, Himachal Pradesh, Ladakh region and Arunachal Pradesh, Originally used as a medium of reverence that evoked the highest ideals of Buddhism. Base of cotton canvas (white background) with paints made from natural vegetable dyes or mineral dyes. Colours with thei significance (a) Red: Intensity of passion, be it love or hatred. (b) Golden: Life or birth (©) White: Serenity (a) Black: Anger (©) Green: Consciousness (fy Yellow: Compassion. ‘Once the painting is done, itis often framed in colourful silk brocade. 3 types -» Based on depiction and meaning.by Rahul Sengar Sir Life of Buddha from his birth to his enlightenment. More abstract > Buddhist beliefs of life and death including ‘Wheel of Life’ Used for offerings to the deities or meditation. MANJUSHA PAINTING Region Bhagalpur region of Bihar. Also known as Angika art —> ‘ang’ refers to one of the ‘Mahajan Pada, As snake motifs are always present, > snake painting, ‘These paintings are executed on boxes of jute and paper PHAD PAINTING Region: Rajasthan Ascrolltype art Longpiece of cloth called phad, they are 15 feet or 30 feet long. Itis religious in nature and comprises of drawings of local deities, Pabyji and Devnarayan. Vegetable colours on a The subjects have large eyes and, round faces. They are of pompous and joyful narrative and scenes of procession are common. CHERIYAL SCROLL PAINTINGS Region: Telangana state Type of Nakashi art. ‘The scrolls are depicted as a continuous story like comics or ballad by the Balladeer community ‘Themes: Hindu Epics and Puranic stores ‘The artists use the scroll painting to narrate stories along with music, as they move to different places ‘They are often huge in size, going upto 45 feet in height. Ithas been accorded the Geographical indication statusinPITHORA PAINTINGS +The paintings are done by some tribal communities of Gujarat and Madhya Pradesh. Traditionally performed on walls inside the homes of the Rathvas. + Drawn on special family-occasions as a ritual. Depiction of animals are common especially horses. 1 am te SAURA PAINTINGS, ORISSA + Region: Saura tribe of Odisha and are similar to Warli paintings, 15 by Rahul Sengar Sir Essentially a wall mural painting and is ritualistic. ‘Also called italons or ikons and are dedicated to Idital, the main deity of the Sauras. Colour: Mostly in white, while the backdrop of painting is red or yellow. ‘The human shapes are geometrical and stick-like. The designs have gained fashion in recent times with lots of T-shirts, female clothing, etc, featuring Saura style designs,by Rahul Sengar Sir at ed 1 Who among the following Mughal Emperors Shifted ‘emphasis from illustrated manuscripts to album and individual portrait? (@) Humayun (b) Akbar (0 Jahangir (@) Shah Jahan The well-known painting "Bani Thani" belongs to the (a) Bundi schoo! (©) Jaipur school (0) Kangra school (@)Kishangarh school The painting of Bodhisattva Padmapani is one of the most famous and oft:illustrated paintings at (@) Ajanta (b) Badami (Bagh (2) Ellora With reference to Indian history, who among the following is a future Buddha, yet to come to save the world? 6. (a) Avalokiteshvara (b) Lokesvara () Maitreya (@) Padmapani Kalamkari painting refers to: (a) a hand-painted cotton textile in South India (©) a handmade drawing on bamboo handicrafts in North East (6) India a block-painted woollen cloth in Western Himalayan region of India (d) @ hand-painted decorative silk cloth in North- Western India Consider the following historical places: 1. Ajanta caves 2. Lepakshi temple 3. Sanchi stupa Which of the above places is/ are also known for mural paintings? (@)Only1 (o1,2and3 (b) Vand 2 (a) 1 and 3 COE eles ‘The flute playing Krishna’ theme is very popular in Indian art. Discuss. 2012 While banging out thelr salient features, distinguish between either ‘Madhubani Art and 'Manjusha’ Art or’ Rajasthani’ schools of painting and the' Pahari school of Painting. Write about the chief features of the Bundi school of painting, Write about the chief features of (a) Kishangarh style of painting (6) Kangra school of painting What are the basic differences between Mughal style of painting and Rajput style of painting? 16 2011 1993 1990