Final Notes

WHAT IS MINIATURE PAINTING?
❖ Miniature Paintings means small size paintings with minute details. Clothes, palm leaves and
later papers were used to delineate miniature paintings for books and manuscripts.
❖ The First Miniature Painting painted in India in the second half of the 10th Cent A.D. is
‘Pragyaparmita’.
CHAPTER-2
THE RAJASTHANI SCHOOL OF MINIATURE PAINTING
ORIGIN AND DEVELOPMENT:
HISTORICAL BACKGROUD:
❖ It began in 15th cent.
❖ First one was Jain Kalpasutra.
❖ The Miniature paintings started in Mewar which was of Jain Kalpasutra style.
FEATURES/ CHARACTERISTICS/ ARTISTIC ASPECTS OF RAJASTHANI SCHOOL

OF MINIATURE PAINTING:
❖ Mixture of the specific local folk art elements with the great art tradition of Ajanta and Gujrat.
❖ Sentimental / expressive faces with humanly emotion.
❖ Sharp features.
❖ Figures in motion/ action.
❖ Potential outlining in dark colours.
SUB-SCHOOLS
1. Mewar
2. Bundi
3. Jodhpur
4. Bikaner
5. Kishangarh
6. Jaipur
1. MEWAR
❖ Palambhagwat of 1555 AD is the most developed form of Mewar style.

❖ Sahibdin and Manohar are the two painters of Mewar school.
❖ Many immortal paintings based on Bhartiropatras, Ragas and many others have been
painted.
Painting:
MARU RAGINI
Painter/Artist: Sahibdin
Sub-school: Mewar (Udaipur)
Medium: Water Colours on Paper
Technique: Tempera
Circa: 18th cent.
Collection: National Museum, New Delhi
Subject matter:
❖ The painting depicts king and queen ridding on camel back, with the attendants walking
along.
Composition/ Artistic aspect/ Description:

❖ It is an important miniature painting of Ragmala series.
❖ The King and Queen are shown riding on the camel back in desert background.
❖ Figures in deep coloured transparent apparels have been shown adorned with jewels.
❖ Turbans are of Mughal style.
❖ The camel is show running and attendant proceeding ahead of camel, while two male escorts
with swords and daggers have been shown in motion.
❖ On the top there is a calligraphy in Devnagari script.
❖ Painting has been mounted with simple orange border.
2. BUNDI
❖ Paintings of Ragmala series are the first miniature painting of Bundi, that were painted in
Chunar.
❖ Influence of Mughal and Deccan style art element is prevalent.
❖ The artists here had a well practiced hand in portraits.
Painting:
RAJA ANIRUDHA SINGH HARA
Painter/Artist: Utkal Ram
Sub-school: Bundi
Technique: Tempera
Circa: Early 18th cent.
Subject matter:
❖ Portrait of Raja Anirudha Singh Hara.

❖ With expressive eyes the king is shown wearing decorated apparels, jewels and a
wonderfully decorated turban of Mughal style.
❖ The painting shows a straight stretched tail of a horse.
❖ The ornamentals elements have been painted in red, orange, yellow and brown (ochre).
❖ White coloured horse and apparels of king have been delineated in charming combination.
❖ King has been shown holding the reign of the horse in his left hand very proudly and in his
right hand he is shown holding a flower.
3. JODHPUR
❖ In the beginning it was known for Pali Ragmala.

❖ It has indigenous elements.
❖ It got art tradition in heritage from Mewar.
Painting:
CHAUGAN PLAYERS
Painter/Artist: Dana
Sub-school: Jodhpur
Technique: Tempera
Circa: 18th cent.
Subject matter:
❖ The painting shows six Princesses playing Chaugan (Polo).
❖ The painting depicts six princesses playing polo or chaugan.

❖ They are shown riding on their well equipped horses (in white, blue and deep grey).
❖ The painting depicts movement of horses in different directions as princesses are shown
playing polo/ chaugan.
❖ They are shown wearing jewels and royal apparels of different colours.
❖ The heads of the princesses are shown covered with beautiful adornments.
❖ Green, blue and yellow coloured grasses are shown in front.
❖ Grass field is shown in the background.
❖ Calligraphy can be seen in the upper part.
4. BIKANER
❖ Abundance of Mughal art elements are seen in Bikaner school because the artists from
Mughal court came to Bikaner.
❖ Mixture of pre-existing Bikaner style of painting with that of Mughal Art is prevalent.
Painting:
KRISHNA ON SWING
Painter/Artist: Nuruddin
Sub-school: Bikaner
Technique: Tempera
Circa: 1638 AD
Subject matter:
❖ The painting depicts love and affection between Radha and Krishna.
Composition/ Artistic aspect/ Description

❖ Painting has two divisions.
❖ In the upper left, Lord Krishna has been shown sitting on a hexagonal swing that has
ornamented base.
❖ He is shown in blue wearing orange dhoti and adorning ornaments made of pearls.
❖ A thin yellow lined scarf has been shown dangling from his shoulders.
❖ He is shown wearing ornamented crown.
❖ On t he upper right, Radha is shown sitting in a balcony, where Lord Krishna is shown gazing
at her.
❖ The architecture has been painted beautifully with placid and bright colours, which is
distinguished as a feature of Bikaner style.
❖ She is shown wearing traditional ghagara and choli and her head is shown covered with
transparent chunari.
❖ Sitting on a red carpet, she is shown looking towards Krishna.
❖ Round pillows are shown at the back of Lord Krishna and Radha to depict their resting
posture.
❖ In the lower part of the division both Radha and Krishna have been shown sitting separately
on a red carpet under a tree.
❖ Krishna is shown here wearing yellow dhoti, while Radha is shown wearing the similar dress.
❖ To show the resting position, again the round pillows have been shown on the carpets.
❖ Radha’s attendant has been shown standing beside Krishna possibly depicting taking
Radha’s message to Krishna.
❖ Attendant is shown wearing light violet and yellow stripped Ghaghara and matching choli.
❖ In the background of lower division the mound of yellow and green has been shown with
trees.
5. KISHANGARH
❖ Mysterious beauty of women is the main subject of Kishangarh style of painting.

❖ The immortal paintings like Bani -Thani (Radha) and the painting of King Sawant Singh are
the identity of Kishangarh style.
Painting:
RADHA (BANI-THANI)
Painter/Artist: Nihal Chand
Sub-school: Kishangarh
Technique: Tempera
Circa: 1760 AD
Subject matter:
❖ It is a portrait of Radha (Bani-Thani).

❖ This is one of the famous painting of Rajasthani School.

❖ A postal stamp has been issued on this painting by Govt. of India.
❖ Radha is shown smiling mysteriously.
❖ Radha’s face has been shown large in size and forehead in curvature.
❖ The nose is long, sharp and pointed with arched eyebrows.
❖ Her eyes reflect the womanly beauty with lips red and thin.
❖ She has black long curly hairs upto her waist with a thick lock of hair dangling down her
cheek.
❖ In her left hand she is shown holding two buds of lotus and in her right hand she is shown
delicately holding her gold studded bordered transparent chunari.
❖ Her apparels and jewels have been painted according to the Rajput tradition.
❖ The background is shown in different gleams of dark blue colour.
6. JAIPUR
❖ It got patronage in the reign of King Sawai Jai Singh.

❖ Hunting scenes in action is the identity of Ajmer Sawar.
❖ Painters: Mohammad Shah and Sahib Ra.
Painting:
BHARAT MEETS RAMA AT CHITRAKUTA
Painter/Artist: Guman
Sub-school: Jaipur
Technique: Tempera
Circa: 18th cent.
Subject matter:
❖ The painting depicts the re-union of the family. Younger brothers Bharat and Shatrughana
along with the family and preceptors had come from Ayodhya to Chitrakuta, to ask Rama
to accept the throne after their father Dashrath’s demise.
❖ The episode of Ramayana through 49 human figures has been depicted.

❖ Bharat and Shatrughna with their wives, mothers, preceptors (rishis) and distinguished
officers arrived at Chitrakuta and are shown pursuing Rama, Lakshman and Sita to come
back to Ayodhya.
❖ Bharat, Shatrughana are shown wearing similar light pink clothes and mothers in white
clothes.
❖ Sita and the wives are seen wearing pink coloured clothes.
❖ On hearing the sad news of his father Dashrath’s demise, Rama has been shown fainted.
❖ In the upper part, Sita is shown discussing and conversing with her mother-in-law.
❖ At one place, Rama is shown apologising to preceptors, while Lakshman is shown standing
behind him and Bharat and Shatrughna have been shown sitting together.
❖ On the right hand side corner of the painting, all are shown standing in a line probably
depicting the time of farewell.
❖ Dark green hut with black-coloured structure has been painted in the background.
❖ Trees, flowers and plants have been painted behind the hut.
❖ Hills are also shown behind the trees.
❖ In front there is a water source shown with blossoming lotus.
❖ A clump of trees are shown near the water source.
❖ The base has been painted with ruddle colour.
❖ This painting is considered as one of the unique paintings of the style.
7. KOTA
❖ There are stylistic and topical similarities between the styles of Kota and Bundi.
❖ Kota excelled in painting Baramasa (a conventional verse composition consisting of twelve
stanzas depicting the suffering and agony of separation and the changing moods and
characteristics of nature during the twelve months of the year).
QUESTIONAIRE
NOTE: IGNORE THE QUESTIONS ON THE PAINTINGS THAT ARE NOT IN
SYLLABUS NOW.
1. Briefly mention the style of Kishangarh sub-school of Rajasthani School of Miniature

Painting.
2. How the artists created a new style of paintings in Bundi sub-school.
3. Artist of Rajasthani School of Miniature Painting excelled in portrait painting. Give an

example.
4. How has the artist been able to depict the painting “Krishna on the swing” in an aesthetic
manner.
5. Briefly mention the main features of Rajasthani School of Miniature Painting.
6. Appreciate the painting “Maru Ragini” based on its

a. Title and name of the artist
b. Medium and Technique
c. Period and Sub-school
d. Subject matter
e. Composition
7. “The tradition of simple and straightforward compositions in the Rajasthani School of
Miniature Painting”, in which main figures stand out against a flat background in dark or
bright colours.” Justify the statement with an example.
8. Write short note on Mewar style of Paintings with its characteristics.
9. Write an essay on the origin and development of Rajasthani School of Miniature Painting.
10. How did Rajasthani School of Miniature Painting came into existence? Appreciate any
one painting included in your course of study.
11. Explain which one painting do you like or dislike the most from Rajasthani School of
Miniature Painting:
a. Krishna on swing
b. Radha (Bani-Thani)
12. Write short note on the paintings of Bikaner sub-school.
13. How far has its painter has been successful in depicting the artistic aspect of the painting
“Radha (Bani-Thani)”.
14. How far has the painter been successful in depicting the subject matter of the following
painting? Any one.
a. Maru- Ragini
b. Raja Anirudh Singh Hara.
15. Evaluate the artistic achievements of any of the following painters of the Rajasthani or
Pahari Schools with reference to his particular painting included in your course of study:
a. Nuruddin (Rajasthani School- Bikaner sub-school)
b. Nainsukh (Pahari School- Kangra sub-school)
16. Write an essay on the evolution of Rajasthani School of Miniature Painting.
17. Evaluate the artistic achievements of the following painters of Rajasthani School of
Miniature Painting with special reference to their paintings, included in your course of study:
a. Sahibdin
b. Nihal Chand
18. Describe the aesthetic grandeur of the painting “Radha (Bani-Thani).
19. How did the Rajasthani School of Miniature Painting developed different style.
20. On the basis of your study, describe the compositional arrangement of the “Bharat meets
Rama at Chitrakuta”.
21. What are main subject matters of Jodhpur school?

22. Identify any relevant painting of the Rajasthani School of Miniature Painting, that reflect
the application of glowing (brilliant) colours in deep harmonious contrast applied flatly within
definite outline of forms which strike most with their intensities.
23. There is a subjective vividness in Miniature Paintings painted in Rajasthani School.

Justify your answer.
24. On which subject have the artists emphasized to make Miniature Paintings in Rajasthani
School. Explain.
CHAPTER-3
THE PAHARI SCHOOL OF MINIATURE PAINTING
HISTORICAL BACKGROUND:
The Pahari School of Miniature Painting originated in the hill state of Basohli, situated on the bank
of river Ravi about 1690 A.D.
Main centres of Pahari School are:
1. Garhwal
2. Kullu
3. Chamba
4. Mandi
5. Guler
Subcentres; Jammu, Srinagar, Nurpur, Mankot, Nalagarh (Hindoor), and the plains of Punjab.
STYLISTIC FEATURES/ ARTISTIC ASPECTS/ CHARACTERISTICS OF PAHARI

SCHOOL OF MINIATURE PAINTING:
1. The Himalayan environment

2. Round faces
3. Half-moon shaped forehead
4. Normal sized deep eyes
5. Normal statured men and women (common people)
SUB-SCHOOLS
1. BASOHLI
❖ This style came into existence when the Mughal emperor Aurangzeb had restricted all the
forms of art in his court.
❖ In the mid of 18th Cent. the artists of his court moved towards the hilly states.
❖ Artists were independent in selecting the subject matter of their own choice but also did
artworks acc. to their patron’s wish.
Subject:
Ras-manjari, The Ramayana, Geet Govinda and Ragmala.
Characteristics/ Features:
❖ Paintings are usually square in shape.
❖ Double storied or high towered buildings in the background.
❖ Hilly environment, rivers, waterfall, lotus, and other flowers have been used as ornamental
elements in the paintings.
Painting:
KRISHNA WITH GOPIS
Painter/Artist: Manaku
Sub-school: Basohli
Technique: Tempera
Circa: 1730 AD
Subject matter:
❖ The painting depicts Rasleela scene.
❖ In the painting blue skinned Krishna has been shown singing and dancing with gopis on the
bank of river Yamuna.
❖ He is shown wearing yellow coloured dhoti and pearl necklaces.
❖ Gopis are shown in transparent apparels.
❖ Gopis charming faces with big eyes, curved eyebrows like a bow, round forehead and long
charming nose are the characteristics of the painting.
❖ The gopis on the left are shown conversing.
❖ On the right Radha has been shown with folded hands with her female attendant holding an
umbrella for her.
❖ Radha’s facial expression and costumes are similar to gopis.
❖ Multi-coloured and multi-designed leaves of the trees have been shown in the background.
❖ The light scarlet colour in the middle of the background indicates surface.
❖ This painting is an unique example of Basohli subschool.
2. GULER
❖ It is famous for both individual and subjective style of paintings.

❖ It beautifully depicts the mysteriousness and beauty of woman.
❖ Guler’s painting reflects emotional disposition.
❖ Extraordinary softness in colours.
❖ Minute detailing.
❖ Thin outlining.
❖ Guler paintings exhibit excellence in perspective and emotional delineation.
❖ Pale brown, cottony clouds and emotive nature are the characteristics of Guler’s painting.
Painting:
BHARAT WORSHIPPING CHARAN PADUKAS OF RAMA
3. KANGRA
❖ Miniature paintings of Kangra are the glory of Pahari Miniature Painting.

❖ One can feel the scent of soil in these paintings.
❖ Soft delineation of the features of female figures are pleasing.
❖ Kangra style reached to its excellence in the reign of King Sansar Chand.
❖ The ceremony and splendid display of the king’s court has been shown with the medium of
thin lines and colour.
❖ Human portraits painted here are natural and beautiful.
Subjects:
❖ Keshavdas poetry- ‘Rasik Priya’have been the favourite topic / subject of Kangra painters.
❖ Radha Krishna have been painted as lovers.
❖ Love tales of Sasi-Punno, Heer-Ranjha, and Sohani-Mahiwal and others.
❖ Red, yellow and blue basic colours are pleasantly calm and decorated.
❖ Beautiful delineation of borders, ornaments and buildings are praiseworthy.
❖ Balanced shape of trees, extended pictorial representation of landscape and hills rae the
speciality of this style.
Painting
NANAD, YASHODA AND KRISHNA WITH KINSMEN GOING TO VRINDAVANA
Painter/Artist: Nainsukh
Sub-school: Kangra
Technique: Tempera
Circa: 1785-90 AD
Subject matter:
❖ The painting depicts the inhabitants of Gokul going to Vrindavan with Nand, Yashoda,
Krishna and Balram.
❖ In the painting the inhabitants of Gokul along with Nand, Yashoda and Krishna have been
shown going to Vridavana.
❖ Based on the episode of Bhagwat Purana, the painting is tender, placid and captivating.
❖ Out of the 13 figures shown in the painting, three are shown swimming in river Yamuna.
And the others with facial expressions and gestures wearing different colour apparels are
shown standing on the other side of the river.
❖ Krishna has been shown in blue, wearing yellow dhoti, different ornaments of gold and
garland of flowers around his neck.He is shown wearing golden crown with peacock
feathers.
❖ With his raised hands Krishna has been shown pointing towards the golden palace of
Vrindavana, partially seen through clouds.
❖ Nand and Yashoda have been shown looking at the site surprisingly.
❖ Except Nand and Yashoda, all the figures are shown partially clothed. They are shown
wearing striped clothes and heads covered with multi-coloured caps.
❖ Another crowned person in blue coloured costume is possibly Balram. And he is shown
raising his hands and pointing towards Vrindavana.
❖ On the left bank of the river, two birds have been shown sitting. One on the cut stem and
another on a heavy branch of a tree.
❖ The coiled round creepers have been shown on the tree drawn at the right of the painting.
❖ On the other side of the river the greenery has been shown.
4. CHAMBA
❖ Extremely captivating, tender and unusual figures of women give distinct identity to Chamba
painting.
❖ The painters of this style have prominently used red and blue colours with co-ordination of
creativity and technique.
Painting:
COSMIC DANCE OF SHIVA
5. GARWAL
❖ Painting depicts charmness of colours, clarity in expression and tenderness in beauty.

❖ Systematic painting with developed symbolic design is speciality of Hindoor (Nalagarh) Art.
Painting:
RADHA AND KRISHNA LOOKING INTO MIRROR
6. MANDI
❖ The paintings of various Tantric forms of a Goddess, is the speciality of Mandi Miniature
Painting.
❖ The painters emphasised on the use of black, red, and blue colours to improve the
dreadfulness of the mysterious form of the Goddess.
QUESTIONAIRE
1. Identify any relevant painting of the Rajasthani or Pahari School of Miniature Pianting
included in your course of study, comprising the following features and explain them in that
painting accordingly:
a. Depiction of the Krishna-Lila themes in the Pahari Miniature Paintings.
b. Simple and straight forward compositions in the Rajasthani Miniature Painting, in which
figures stand out against a flat background in dark or bright colours.
2. Mention the artistic aspects of Garhwal paintings.

3. Which human life values are expressed in the painting “Cosmic Dance of Shiva’. Briefly
explain.
4. Briefly explain that how the artists of Basohli school depicted lyricism in Pahari paintings.
5. What are the differences between Pahari and Rajasthani style of Miniature Paintings.
6. Evaluate the artistic achievements of the following painting with reference to its artist:
a. Nainsukh (Nand, Yashoda and Krishna with Kinsmen going to Vrindavan)
b. Manaku (Krishna with Gopis)
7. Describe the sub-schools of Pahari Miniature Paintings.
8. Explain the following:

a. Basohli sub-school of Miniature Paintings
b. Kangra sub-school of Miniature Paintings
9. How Guler sub-school developed its style of paintings in 18th Cent.
10. Briefly mention the stylisation of Chamba paintings.
11. Why do you like or dislike the Pahari Miniature Paintings? Give your appropriate
reasons in short.
12. How Kangra artists depicted subject matter in their Miniature Paintings.
13. How the natural beauty of Garhwal region supported their artists to create a lot of
legendary paintings?
14. Mention and aesthetically elaborate the painting that depicts the Krishna-Leela themes in
Pahari Miniature Paintings.
15. Give appropriate reasons as to why do you like or dislike the Pahari School of Miniature
Paintings.
16. On the basis of your study, write the notes on the composition of the following Miniature
Painting of Pahari School:
a. Krishna with Gopis
b. RAdha and Krishna looking into the mirror.
17. Which human life-values are expressed in the painting “Bharat Worshipping Charan-
Padukas of Rama” done by the artist of Pahari School of Miniature Piantings.
18. To replace the Nayak and Nayika in the Nayak and Nayika Bheda painting of the Pahari
School, Radha-Krishna are represented. Justify with an example.
19. Write an essay on the Origin and Development of Pahari School.
20. Comment from your view point, ‘how the Chamba artists created a world class painting
style’.
21. Write main features of Pahari School of Miniature Paintings painted in Rajasthani
School. Justify your answer.
ALL THE BEST
CHAPTER-4
THE MUGHAL SCHOOL OF MINITURE PAINTING
❖ Mughal Miniature Paintings depict Indo-Islamic style of painting that flourished in the
ateliers of Mughal Emperors Akbar, Jahangir and Shah Jahan.
❖ These paintings are generally miniature either as book illustrations or as single works to
be kept in albums, which emerged from Persian Miniature Paintings.
❖ Mughal Emperor wanted visual records of their deeds as conquerors and hunters. The
artists used to accompany them on their military expeditions and huntings as well, for this
it is recognised as the art of aristocracy.
CHARACTERISTICS OF MUGHAL MINIATURE PAINTINGS
❖ Natural colours were applied using babool and neem gum as adhesive.
❖ They used expensive Lapez Lazuli and gold/silver leaf.
❖ Papers were used as surfaces.
❖ Paper with gold dust was the costliest paper used.
❖ The brushes used were of squirrel, Iranian cat and calf’s hair.
❖ Glowing and vivacious colours were used.
❖ The drawing was of prime importance to the painters.
❖ A picture was the composite work of several artists as few were specialised in outlining,
others in drawing figures and colouring.
❖ Multiple perspective drawings were the prime feature of Mughal Miniature that can be
seen in their architectural style.
❖ Ocassionally portraits are shown in three-quarter profile but profile was the most
preferred one.
“ART DURING AKBAR’S PERIOD”
❖ Akbar is acknowledged as the father of Mughal Art.

❖ He established Kitabkhana (atelier of court painters).
❖ He established a Tasvirkhana for the picturisation of the book and also a paper mill in
Syalkot (now in Pakistan) for the continuous supply of papers.
❖ The artists of Akbar court very beautifully included the Islamic values and royal Iranian
theme with the Hindu style and the Indian aesthetics in their paintings.
❖ Hindu painters were in majority during Akbar’s reign who worked under the direction of
two Iranian artists- Mir Saiyad Ali and Abd-as-Samad.
❖ He translated the best Indian literature into Persian and best Persian literature into
Hindustani.
❖ It is known, when Akbar died there were about 2,400 illustrated manuscripts of the world
famous literature in his library and few were the Ramayana, The Mahabharata, Harivansh
Purana, Humza-Nama, Shah-nama, Tuti-nama, Babar-nama.
CHARACTERISTICS:
❖ Excellent colour mixing.

❖ Fine execution.
❖ The lines are in flow.
❖ Minute delineation.
❖ Crowded figures but balanced.
❖ Pretty round faces.
❖ Beautifully Composed paintings.
Paintings:
1. KRISHNA LIFTING MOUNT GOVARDHANA
❖ PAINTER: Miskin
❖ PERIOD/ SUB-SCHOOL: Akbar
❖ MEDIUM: Water Colours on Paper
❖ TECHNIQUE: Tempera
❖ CIRCA: 1585-1590 AD
❖ COLLECTION: National Museum, New Delhi
SUBJECT MATTER:
❖ The painting depicts Krishna lifting Mount Govardhana, which reflects secularism during
Akbar’s period.
COMPOSITION/ ARTISTIC ASPECT/ DESCRITION:
❖ In the painting, blue skinned Krishna has been shown lifting up the multicoloured
Govardhan Pravat on his left hand as it is weightless.
❖ He is shown wearing yellow clothes and multicoloured jwellery around his neck.
❖ He is shown wearing a crown with peacock feathers.
❖ He is shown bending his neck, depicting as he is saying something to people from Gokul
who are shown standing with their cattles under Govardhan Parvata.
❖ The painting depicts them being saved from Indra’s wrath.
❖ The hill depicts the influence of persian style having different colours and creatures
shown wandering here and there.
❖ Green and yellow trees with dense clouds over the hill are shown in dark blue.
❖ The delineation of trees depict the influence of Persian art.
2. BIRTH OF SALIM
❖ PAINTER: Ramdas
❖ PERIOD/ SUB-SCHOOL: Akbar
❖ CIRCA: 1590 AD
SUBJECT MATTER:
❖ The painting depicts hunting scene of Babur painted during Akbar’s period.
❖ The miniature painting was painted on an episode from Akbar Nama, which depicts the
birth of Prince Salim.
❖ The people of Fatehpur Sikri and courtiers played music and celebrated the occasion. Some
of them are shown playing drum, clarinet and other instruments.
❖ Some royal officials have been shown distributing bounty to the people of Fatehpur Sikri.
❖ The picture is divided into three compartmnent. The birth of Akbar and heir forms the
subject of the upper compartment. The other two being filled with musicians and servants,
with the surging excited crowd outside.
❖ A rocky landscape has been painted in the background.
❖ The painting is an excellent example of the bustling movement and stress which Akbar’s
painters often introduced into their work.
❖ Among other points of interest in the painting it is the typical bird’s eye view in the upper
level in contrast to the lower panel where the artist is on a 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.
“ART DURING JAHANGIR’S PERIOD”
❖ Jahangir was a great admirer of European Art. He was fascinated by art and architecture
both which is evident in his period.
❖ He patronised painters Abul Hassan, Mansoor, and many more.
CHARACTERISTICS:
❖ The painting of birds and animals are counted among the best paintings of the period.
❖ As the influence of European Art elements hightened, the more we can observe the
aspects of light and shade and three-dimensionality included in Indian Art style.
❖ Portraiture became the major art style of the period.
❖ The main theme of Jahangir’s reign was portraits, birds, animals, boat scenes and flora
‘n’ fauna.
3. FALCON ON A BIRD- REST
❖ PAINTER: Ustad Mansoor

❖ PERIOD/ SUB-SCHOOL: Jahangir
❖ CIRCA: 1618-19 AD
❖ COLLECTION: Maharaja Sawai Man Singh Museum, Jaipur
SUBJECT MATTER:
❖ The painting depicts the bird Falcon. It’s realistic rendering reflects the influence with the
West Art.
❖ Preserved in Jahangir-Nama, this beautiful charming painting is the best specimen of the
bird painting.
❖ Falcon in the picture is supposed to be gifted to Jahangir by Shah Abbas, the Emperor of
Iran and later the falcon was killed by a cat.
❖ The bird is painted in white with brownish black feathers of its folded wings against the
yellow background.
❖ The expression of cruelty in its eyes is a mark of great astonishment.
❖ The sharp beak and round vigilant eyes have been painted in the shades of deep ochre
and yellow. A thin string is tied around falcon’s neck and hangs loosely to the ground.
❖ Three words ‘Jahangir Paat Syah’, ‘Bahari’ and ‘Uttam’ are all written in Devnagri
script.
❖ The border of the painting is black in colour with golden patters drawn on it which was
the speciality of paintings painted in Jahangir’s regime.
“ART DURING SHAHJAHAN’S PERIOD”
❖ Shahjahan preferred architecture rather than paintings.

❖ Although art continued but was not of that quality as earlier.
CHARACTERISTICS:
❖ Nature and background was more placid, tender and attractive.

❖ Shahjahan did not like violence and ugliness.
❖ Elements of symbols of beauty were in abundance.
❖ Themes: Darashikoh-Ranadil, Bajbahadur-Roopmati, Laila-Majnuand some serialised
paintings on different themes.
4. KABIR AND RAIDAS
❖ PAINTER: Ustad Faquirullah Khan

❖ PERIOD/ SUB-SCHOOL: Shahjahan
❖ CIRCA: 1640 AD
SUBJECT MATTER:
❖ The painting depicts two poets Kabir and Raidas. This reflects the likeliness of poetism
during Mughal period.
❖ The painting was painted on the request of Dara Shikoh, as he paid due respect to Sufis
and Saints.
❖ During Shahjahah’s regime, the fame of saint Kabir and Raidas was spread far and wide.
❖ In the painting Kabir has been shown weaving cloth outside his hut.
❖ Close to him Raidas has been shown sitting on a carpet.
❖ Both have been shown discussing some mystery.
❖ Ribs on Kabir’s body are apparent.
❖ On their heads turbans have been shown.
❖ The painting has been given a natural feel by painting it with brown, black and white
colours.
❖ The painting has been enclosed with border of two colours, which is the speciality of the
school.
“PROVINCIAL MUGHAL/ DECLINIG OF MUGHAL ART”
❖ Aurangzeb being an orthodox Muslim, did not promote/encourage any form of art.
❖ Therefore no work was left for the artists during his regime, this led to the decline of
Mughal Art and so the artists started to move towards the independent provinces and
states.
❖ They carried with them the style of Mughal Miniature painting and mixed it with the
existing style of the place. This led to a new developed style, which is known as
‘Provincial Mughal Style’.
❖ Avadh became the leading centre of the new style, whereas in Datiya artists followed
pure Mughal style for a long time.
5. MARRIAGE PROCESSION OF DARA SHIKOH
❖ PAINTER: Haji Madni

❖ PERIOD/ SUB-SCHOOL: Provincial Mughal
❖ CIRCA: 1740-50 AD
SUBJECT MATTER:
❖ The painting depicts a scene from Dara Shikoh’s marriage. It is the most crowded
painting of the Mughal period.
❖ The painter pictured marriage procession of Dara Shikoh.
❖ The painting has been composed very placidly and clearly on a bigger paper.
❖ On the right, a group of people has been shown standing eagerly waiting to welcome the
groom side. Few are shown with a platter as a gift.
❖ On the left males are shown seated on the horse back and females on the elephant.
❖ Few male are also shown mounted on elephant, beating the big-sized kettle- drums.
❖ Horses of different colours have been shown in a row.
❖ In the middle of the painting Dara Shikoh has been shown in royal apparels with his face
covered with the strands of pearls, mounted on a hale and hearty dark brown horse.
❖ The royal people family are shown standing together with him.
❖ Behind him is shown Shahjahan mounted on a caparisoned horse with green colour halo.
❖ In the background blank space has been left with the colourful display of fireworks.
❖ In the foreground a boy has been shown dancing.
❖ Golden colour border with red and blue patterns are shown as a border.
❖ The skills and endurance of the painter is praiseworthy.
❖ The painting is a unique example of Provincial Mughal Style or Subai Mughal Style.
QUESTIONAIRE
1. Do you receive any Spiritual message from the Mughal Miniature Painting “Kabir and
Raidas”? Explain in short.
2. “The tendency of crowded scene composition involving too many figures in Bright colour”.
Justify the statement with reference to a Mughal Painting included in your course of study.
3. Why do you like or dislike the paintings og Mughal Miniature painting included in your
course of study? Justify your answer in detail with suitable example.
4. Describe the origin and development of the Mughal Miniature Painting.
5. How has the painter been successful in depicting the subject matter of any one of the
following miniature painting
a) Babur Crossing the River Sone

b) Falcon on a Bird Rest
6. “The Mughal School of Miniature painting are secular, in which Hindu Gods and Goddesses
and Saints were also depicted.” Explain on the basis of relevant paintings included in your
course of study.
7. Which particularities in art do you see during Jahangir’s regime?
8. What is the difference between Mughal art and Islamic style of art.
9. Write a note on any one of the following with special reference to the paintings included in
your course of study.
a) The tendency of composing calligraphy and decorative beautiful border in the Mughal
Miniature Painting.
b) The representation of the deep yellow ochre background with typical Mughal style
border.
10. Write the main features of Mughal School.
11. Crowded scenes are painted in most of the Mughal Miniature Paintings. Briefly discuss
the point.
12. Influence of Iranian art is prominent in Mughal Miniature Painting. Explain with
examples.
13. Write the aesthetic grandeur of the painting ‘Babur Crossing the River Sone’.
14. Giving an example explain how The Mughal Empire had connection West.
15. The realistic delineation in Mughal art, reflects the influence of Western art. Explain with
an example.
16. “Portrait was an integral part of Mughal Miniature Painting.” Explain with suitable
examples.
17. Analyse the painting ‘Kabir and Raidas’ on its title, compositional arrangement, subject
matter, colour scheme, period, etc.
18. How the artist is able to depict all the details in the painting ‘Krishna lifting Mount
Gowardhana’.
ALL THE BEST
CHAPTER-5
DECCAN SCHOOL OF MINIATURE PAINTING
❖ Deccani Art broadly existed from 16th to 19th century A.D. at Bijapur, Ahmednagar, Golconda
and Hyderabad.
❖ The style and themes in Deccan Miniatures are an amalgamation of various art elements and
influences, especially the elements of early indigenous art traditions of the Deccan and the
Islamic idiom of Iran, Persia and Turkey.
FEATURES/ CHARACTERISTICS OF DECCAN ART:
❖ The rhythmic delicacy of Persia.

❖ The lush sensuality of the Deccan.
❖ Three-dimensional aspect of European Art in the delineation of buildings
❖ Tall, fair and emotional male figures.
❖ Sensuous looking females.
❖ The figures are endowed with lovely faces, large wide open eyes, bold features, broad
foreheads, long neck, triangularly slanting waists and neatly carved figures.
❖ They are characterised by excitement, vigour, moods, sentiments and dramatic intensity
infused into its being.
PHASES AND PAINTING OF DECCAN ART
EARLY PHASE
❖ It evolved at the Yusuf Adil Shah court of Bijapur in the beginning of 16th century.
❖ On his invitation several Iranian, Persian and Turkish painters, calligraphers and scholars
came to his court.
❖ Skilled in Islamic style of Art these immigrating artists rendered paintings on pure Islamic
themes and in a pure Islamic idiom.
❖ The paintings were Indian to the extent that it was rendered on Indian soil.
❖ The art of this phase was confined to text illumination and decoration.
❖ Only illuminated copies of Holy Quran, its Surahs, legends of Anwar-i-Suhali and Yusuf-
Zulekha are now available.
❖ Blue, red and pink in strong tones dominated thus early phase of Deccan Art.
❖ Symmetrical geometric patterns were prominent.
SECOND PHASE
❖ It started when the later generations of Muslim rulers of Deccani states had their roots on
Indian soil.
❖ They were inclined towards Indian mysticism.
❖ Thus, the Islamic idiom was yet the same but the elements in painting were largely
indigenous.
❖ They depicted Indian subjects.
1. RAGINI PATHAMSIKA
PAINTER: Unknown
CIRCA: 1590-95 A.D.
MEDIUM: Water Colour on Paper
SUB-SCHOOL: Ahmadnagar
TECHNIQUE: Tempera
COLLECTION: National Museum, New Delhi
SUBJECT MATTER:
❖ The painting depicts the portrait of Ragini Pathamsika of Raag Hindola.
COMPOSITION/ ARTISTIC ASPECT/ DISCRIPTION:
❖ The painting is the portrait of Ragini Pathamsika of Rag Hindola Bijapur-Ahmednagar style
with combination of red, blue, green, yellow (golden), black and white colours.
❖ Painting is based on the intonation of Indian music.
❖ Ragini Pathamsika has been shown sitting on a seat in the middle of the pavilion playing a
musical instrument.
❖ She is shown wearing fully decorated blue and transparent white clothes.
❖ On both her sides, female attendants have been shown in a dancing pose.
❖ A toy elephant and golden coloured water pot have been shown in the front part of the
painting.
❖ Multicoloured geometrical shapes are seen in the front / on the edge of pavilion.
❖ A vermillion coloured dome has been shown above it.
❖ In the hind part of pavilion, 5 domes can be seen, 2 black ones at the extreme ends with a blue
one in the centre and 2 golden ones besides the blue.
THIRD PHASE:
❖ It initiated in the early 18th century at Hyderabad, when the glory of Mughal art started to
decline and from Mughal court the artists migrated to Hyderabad.
❖ Tin this form of Deccani art the romantic fervour of the former Golconda School blended with
the stylistic elements and refinement of the Mughal Art.
2. CHAND BIBI PLAYING POLO (CHAUGAN)
PAINTER: Unknown
CIRCA: 1750 A.D.
MEDIUM: Water Colour on Paper
SUB-SCHOOL: Golconda
TECHNIQUE: Tempera
SUBJECT MATTER:
❖ In the painting Chand Bibi with three other females are shown playing Chaugan (Polo).
❖ In the painting Chand Bibi and three other female players have been shown playing polo in
royal dresses, mounted on horses
❖ A source of water has been shown in the foreground in which several white coloured birds
and flowers in red and blue colours have been shown.
❖ Greenery has been shown in the hind part of ground.
❖ In the middle part, the players have been shown mounted on white and yellow horses, facing
each other trying to control white ball with their sticks.
❖ All 4 horses have been shown hale n hearty and decorated as well.
❖ One of the players is shown lifting her hands upward.
❖ In background a huge fort and its rampart have been painted.
❖ Numerous small and great buildings and trees have been shown in the fort.
❖ The Sun has been shown with yellow colour.
❖ Wide margins with green and yellow colours are shown in both upper and lower part of
painting.
❖ Calligraphic work in Persian style can be seen in those margins.
3. HAJRAT NIZAMUDDIN AULIYA AND AMIR KHUSRO
PAINTER: Unknown
CIRCA: 1750-70 A.D.
MEDIUM: Water Colours on Paper
SUB-SCHOOL: Hyderabad
TECHNIQUE: Tempera
SUBJECT MATTER:
❖ The painting depicts the sufi poets Hazrat Nizamuddin and Amir Khusro
❖ In the picture, Hazrat Nizamuddin Auliya of Delhi has been shown in green clothes with a
turban around his head sitting in a pose of deep thinking. He was a leading sufi of Delhi)
❖ A yellow coloured halo is shown behind his head.
❖ He is shown with a white beard.
❖ In his front, Amir Khusro, a contemporary famous musician of the time has been shown
sitting on his knees playing a musical instrument.
❖ The colour of his turban and angarakha is same.
❖ A red coloured waist band has also been shown tied.
❖ His black beard is a symbol of his being young.
❖ Thin red strips on yellow colour, has been painted in the courtyard.
❖ The courtyard has been surrounded with a red coloured lattice.
❖ Clear sky has been shown in the background.
❖ The flowering plants have been shown on the horizon.
❖ A big tree with red and yellow coloured fruits and flowers has been shown.
QUESTIONAIRE
1. Write an essay on the origin and development of Deccan School of paintings.
2. Elaborate main features of Deccani Schools.
3. Write in brief the three different phases of development of the Deccan School of Miniature
Paintings.
4. Describe the artistic aspects of the paintings of Deccan school.
5. Give appropriate reasons as to why do you like or dislike the Deccan School of Miniature
Paintings.
6. How did the Deccan School of Miniature Painting come into existence? Explain.
7. Which human values and emotions have been expressed in the painting ‘Hazrat Nizamuddin
Aulia and Amir Khusro’? Briefly explain.
8. Evaluate the artistic achievements of the painter with special reference to the painting
‘Dancers’.
9. Deccani Miniature Painting ‘Ragini Pathamsika’ is quite different from other paintings. Give
an aesthetic grandeur of the painting.
10. Critically write on the artistic aspect of ‘Chand Bibi Playing Polo’.
11. Briefly describe the compositional arrangement of the painting ‘Sultan Abdulla Qutb
Shah’.
ALL THE BEST
UNIT-III
CHAPTER-6
“INTRODUCTION OF BENGAL SCHOOL OF PAINTING”
What gave rise to Bengal School of Paintings:
In the beginning of 20th century, English language and European life-style was favoured, and thus
evaluation of artworks was done on European standard and parameters. The influence heightened
to an extent that the artists of the time started to paint the Indian Goddesses and Gods in European
style for e.g. Lord Shiva wearing European clothes or Lord Krishna driving a pheaton.
Then there was a renewed upsurge of nationalist fervour. In the arts moving away from oil painting
and subjects popular with both the British and Indian intellectuals of the time, resulted in the search
and revivalism of indigenous techniques and materials. Abanindranath Tagore (1871-1951) with
his efforts glorified the Indian Art, which is referred as ‘Renaissance’ or ‘Avant-garde’ in Indian
Art.
Origin and Development of Bengal School of Painting:
• The Bengal School of Painting came into existence in the beginning of 20th century A.D., when
Indian Artists and Painters raised their voice against the activities of the British Art Academy.
• (contribution of Prof. E.B.Havell) Prof. E.B.Havell, Principal of Government Art School,

Kolkata supported them. Therefore in 1904 to encourage Indian Art he removed all the copies
of European paintings and sculptures from the art gallery of the school and replaced them with
the indigenous art of India. Thus the influence of Ajanta, Bagh, Rajput, and Mughal art can
clearly be seen in paintings of Bengal School. The paintings of Bengal School thus were Indian
in spirit, theme, medium and technique.
• Prof. E.B.Havell was so impressed with Abanindranath’s work that he appointed him as the
Vice-Principal and Head of the Faculty of Art. The leaders of this tradition were Abanindranath
Tagore, Gaganendranath Tagore, Rabindranath Tagore, Nandalal Bose and Jamini Roy.
Artist Abanindranath Tagore’s contribution:
ARTISTIC ASPECTS/ FEATURES:
• Abanindranath revived the ancient murals and medieval Indian miniatures and took inspiration
both in subject matter as well as in the technique of tempera.
• In his rejection of the colonial aesthetic, Abanindranath turned to Asia, most notably Japan in
an effort to imbibe and propose a Pan-Asian aesthetic that stood independent of the western
one. Japanese stalwarts like Okakura Kakuzo left a lasting impression, as the Bengal school
artists learnt the wash technique from them.
• Abanindranath used the amalgamation of water colour with the blend of the techniques of
indigenous tempera and wash of Japan. This blended form was taken up by many of
Abanindranath’s students and others who formed the nationalist art movement which is often
called the Bengal School of Painting (Pan-Indian art). In the period, religious, social and
historical scenes were painted along with the mystic and romantic visuals of the Indian
landscape, portraits, animals and birds.
ARTISTS AND THEIR CONTRIBUTIONS:
• Painters Abanindranath Tagore, Nandlal Bose, Asit Kumar Haldar, Kshitindranath Majumdar,
Sardacharan Ukil, M.A.R. Chugtai; Sculptors Devi Prasad Roy Chowdhury, Ramkinkar Baij
and Print maker Mukul Dey with their own techniques gave new heights to the Indian Art and
have contributed to Indian National Movement.
• They sought to develop an indigenous yet modern style in Indian art as a response to the call
for ‘swadeshi’ that ended the dominance of British idioms. ‘Swadeshi Movement’ was a part
of Indian Independence Movement, that involved boycotting British products and the revival
of domestic products and production processes. Hence, Bengal School laid the foundation of
Modern Trends in Indian art.
CHAPTER-7
“STUDY OF THE PAINTINGS OF THE BENGAL SCHOOL”
1. JOURNEY’S END
Painter/Artist: Abanindranath Tagore
Period: Modern/Bengal School
Technique: Tempera and Wash
Circa: 1937 A.D.
Collection: National Gallery of Modern Art, New Delhi
SUBJECT MATTER:
• The painting depicts the temperament and sufferings of the weak.
DESCRIPTION/ COMPOSITION:
• This painting got published in Bengal magazine Pravasi and got recognised for the first time.
• Laden with massive goods the painting depicts a tired yellow-brown coloured camel, tied with
chords in blue, black, brown and yellow colours.
• The temperament and sufferings of the weak, tired, hungry, and thirsty camel has been shown
with his drooping body and half-closed eyes.
• The massive load on camel’s back is the symbol of the exploitation and tyranny by his owner.
• Nevertheless, camel wants to remain faithful to its owner and thus with all his might and
courage tries to stand up again.
• To depict the courage, the artist has shown stones in blue, beneath the camel.
• With the proper combination of red, yellow and brown colours in the background the artist has
depicted the true feeling of redness in the desert at the time of sunset.
• Through the painting Abanindranath tried to awaken human sensations of mercy and sympathy
towards their pets.
Artist- Abanindranath Tagore (1871-1951 A.D.)
• Moving away from oil painting and subjects that were popular with both the British and Indian
intellectuals of the time, Abanindranath revived the ancient murals and medieval Indian
miniatures and took inspiration both in subject matter as well as technique such as tempera.
• In his rejection of the colonial aesthetic, Abanindranath turned to Asia, most notably Japan in
an effort to imbibe and propose a Pan-Asian aesthetic that stood independent of the western
one. Japanese stalwarts like Okakura Kakuzo left a lasting impression, as the Bengal school
artists learnt the wash technique from them.
• He used the amalgamation of water colour with the blend of the techniques of indigenous
tempera and wash of Japan. This blended form was taken up by many of Abanindranath’s
students and others who formed the nationalist art movement which is often called the Bengal
School of Painting (Pan-Indian art).
• Bharat Mata, Birth of Buddha, Buddha and Sujata, Tisyarakshita, Taj Mahal, Death of
Shahjahan, The Evening of Life and Fog and Evening (wash technique) are Abanindranth’s
famous paintings.
2. RASA-LILA (DRAMATIC INTERPRETATION OF THE EPISODE OF LORD

KRISHNA)
Painter/Artist: Kshitindranath Majumdar

Circa: 1926 A.D.
SUBJECT MATTER:
• The painting depicts the scene of Krishna-Lila
• An episode of Krishna–Lila has been painted.
• In multi-coloured costumes12 gopis have been shown dancing around Krishna with pleasant
expressions on their faces.
• The hair of all the gopis are braided with flowers, and one of whom has hair uptill her waist.
• They are shown wearing anklets round their ankles.
• All are shown wearing jewellery around hand, neck and ears.
• Krishna’s hair has also been shown as an ornamented plait of hair with the pleasing expression
on his face.
• There is a ruddle-coloured cloth around Krishna’s neck.
• He is shown wearing yellow-coloured dhoti.
• The background is painted with the proper combination of green and yellow coloured leaves
and stems.
• In the foreground the land is shown with the beautiful combination of green, brown and yellow
colours.
Artist- Kshitindranath Majumdar (1891-1975 A.D.)
• Born in Jagtai in Murshidabad district of West Bengal, Kshitindranath was very impressed with
the Vaishnavism of Shri Chaitanya.
• He had joined a drama group Yatra Dal of Bihar and did stage decoration for them.
• He also got the training of Sri Krishna Leela from Navdeep Brijvasi.
• In 1905A.D. he got admission at Govt, Art College, Kolkata where he made the painting in the
style of Bengal art under the supervision of Abanindranath Tagore.
• Religious devotion and Indian mythic were the subject of his paintings.
• From 1912-1930 A.D. he worked as an Art Teacher and then as the Principal of Indian Society
of Oriental Art, Kolkata till 1942.
• He remained the Head of Faculty of Fine Arts, Allahabad University during the period from
1942 to 1964 A.D.
3. RADHIKA
Painter/Artist: Mohammad Abdur Rehman Chughtai

Circa: 1940 A.D.
SUBJECT MATTER:
• In the painting, the temperaments of lovelorn Radhika have been shown artistically.
• In the painting, Radhika(Radha) with her half opened eyes, bent neck and hair spread up till her
waist, emotion of love has been depicted.
• She is ornamented with necklaces round her neck hanging downwards, one made of pearls and
other with special embellishment on a red thread.
• She is adorned with bangles and jewels on both her arms.
• In her right hand that is hung down she is shown softly holding a lotus on that a bee symbolizes
the presence of Krishna.
• With the other hand she is shown touching the flower to her face, feeling its tenderness.
• She is shown wearing a light violet, transparent-loose skirt with a yellow coloured chunri
covering the waist and skirt.
• On the left, a lamp is shown emitting light of red and yellow colours. And the light scattering
from the lamp reflected from the clothes she wore.
• The background has been shown with the blended shades of blue, red and yellow colours.
• The gentleness and rhythmicity of colours and lines is prominent in the painting.
Artist- M.A.R. Chughtai (1897-1975 A.D.)
• Born in Lahore, he felt the European style lifeless and therefore after coming back to India, he
learnt the Japanese Wash Technique in closeness of Ukil brothers. Through this technique he
developed romanticism in his paintings.
• Hindu mythics and poetry of Mirza Ghalib, Iqbal, and Umar Khaiyyam were the subjects of his
paintings.
• His ancestors had played an important role in preparing the outline of the world famous
buildings like Taj-Mahal, Red-Fort, and Jama-Masjid during Mughal period.
• He exhibited his paintings in London, Paris, Berlin and Philadelphia and with this he got to
meet the world-famous painters and thus, consequently his style matured and developed.
• After the partition he went and settled in Lahore.
4. MEGHDOOT
Painter/Artist: Ram Gopal Vijayvargiya

Circa: 1940 A.D.
(For the picture refer the book)
SUBJECT MATTER:
• In the painting lovelorn Yaksha and Yakshani have been depicted.
• In the painting, lovelorn Yaksha and Yakshini have been shown in real colour scheme, riding
and flying on white cottony clouds with rhythmicity in the blue sky.
• The painting is one from the Meghdoot series.
• The painting has an excellent colour combination with an interesting artistic style.
• Yaksha is shown with curly hair, pearl earings and necklace along with an excellent body
structure, smile on face, soft hand and figures, with a lotus in his right hand, and yellow coloured
clothes enchants the mind of the viewer.
• With the love in her eyes and smile on her lips, Yakshini has been shown sitting behind Yaksha,
sticking on his back and holding him with his right hand in an embraced gesture.
• Her hairs have been shown tied up with white flower plait with a beautiful pearl necklace
hanging around her neck.
• She is shown wearing pink coloured apparels on the upper part and lustrous yellow in the loin
part.
• She is shown wearing jewelleries like anklets on her legs and armlets on both her hands.
• The sky is in blue in the upper part and lighter as it proceeds towards clouds.
• Four white birds are shown flying in the foreground.
• Charming and pleasant colour combination creates a feeling of tenderness in the painting.
Artist- Ram Gopal Vijayvargiya (1905- A.D.)
• Born in a small village named ‘Karauli’ in Sawai Modhpur district in Rajasthan, he got
education under the supervision of Guru Shailendranath Dey.
• Taking his interest in art into consideration, his father Bhanwar Lal got him admitted in
Maharaja School of Arts and Crafts.
• By mere coincidence, Ramanand Chatterjee, Editor of Modern Review, an English magazine

published from Kolkata, published his painting portraying three women taking pitchers on their
heads. And with this he got the recognition.
• He had then sent his paintings like Vishal Bharat, Saraswati, Chand and Madhuri for publishing
in various magazines of Gujarati, Bangla and Urdu languages.
• Abhijnana Shakuntalam, Meghdoot, Kumar Sambhava, Umar Khaiyyam and Bihari Satsai were
the prime themes of his paintings.
• He was versatile. He had published three collection of poems, one compilation of stories, and
about half a dozen books on art in Hindi and Brijbhasha.
• The Rajasthan Academy honoured him with Kavita Puraskar for his collection of poems named
‘Abhisaar Nisha’.
• In 1984, Govt. of India honoured him with the title of Padma Shree.
QUESTIONS FOR REFRENCE:
1. Examine the evolution and salient features of Bengal School of Art.
2. Bengal School brought revivalism in Indian Painting. Justify the statement.
3. Bengal School arose as an ‘avant garde’ in Indian Art. Explain with an example.
4. Bengal School of Art was associated with the Indian Nationalist movement. Briefly explain
giving an example of a painting.
5. Abanindranath Tagore is known as the father of Modern Indian Painting. Summarize giving
an example.
6. Bengal School is truly an era of ‘swadeshi’ in Indian Art.Explain.
‘Swadeshi Movement’ was a part of Indian Independence Movement, that involved boycotting
British products and the revival of domestic products and production processes.
7. How ‘swadeshi movement’ can prominently be reflected in the Bengal school of painting?
Describe with an example.
8. Prof. E.B.Havell along with Abanindranath Tagore played an important role in the evolution
of Bengal School of Art. Briefly explain.
9. Explain a painting from Bengal School
that awakens human sensation of mercy and sympathy towards their pets.
or
that is a symbol of the exploitation and tyranny by his owner.
Or
That depicts expression of love in the absence of partner.
Or
From Meghdoot series.
or
that depicts the emotional bonding between husband and wife.
Or
An episode from Mahabharata
10. Write the name of five artists and paintings from Bengal School of Art.
11. Write the name of five paintings of
Abanindranath Tagore
Nanadlal Bose
Kshitindranath Majumdar
M.A.R. Chugtai
Ram Gopal Vijayvargiya
Sarada Charan Ukil
Note:
• Memorise and always write the Artist; Medium; Technique; Circa; Period; and Collection of
the Painting and then write its detail/description/composition (i.e. explanation). For Bengal
School you all have to write briefly about the artists as well.
• In the features do write about the contribution of Abanindranath Tagore and E.B.Havell.
• In the Contribution of Indian artists in the struggle for National Freedom Movement, write
about Abanindranth Tagore and his painting Bharat Mata and Nandlal Bose and his painting
Tiller of the Soil.
ALL THE BEST

CHAPTER-8
“CONTRIBUTION OF INDIAN ARTISTS IN THE STRUGGLE for NATIONAL

FREEDOM MOVEMENT”
❖ CONTRIBUTION OF INDIAN ARTISTS in NATIONAL FREEDOM MOVEMENT:
In the beginning of 20th century, English language and European life-style was favoured, and thus
evaluation of artworks was done on European standard and parameters. The influence heightened
to an extent that the artists of the time started to paint the Indian Goddesses and Gods in European
style for e.g. Lord Shiva wearing European clothes or Lord Krishna driving a pheaton.
Painters Abanindranath Tagore, Nandlal Bose, Asit Kumar Haldar, Kshitindranath Majumdar,
Sardacharan Ukil, M.A.R. Chugtai; Sculptors Devi Prasad Roy Chowdhury, Ramkinkar Baij and
Print maker Mukul Dey with their own techniques gave new heights to the Indian Art and have
contributed to Indian National Movement.
They sought to develop an indigenous yet modern style in Indian art as a response to the call for
‘swadeshi’ that ended the dominance of British idioms. ‘Swadeshi Movement’ was a part of
Indian Independence Movement, that involved boycotting British products and the revival of
domestic products and production processes. Hence, Bengal School laid the foundation of Modern
Trends in Indian art. In the arts moving away from oil painting and subjects popular with both
the British and Indian intellectuals of the time, resulted in the search and revivalism of
indigenous techniques and materials. Abanindranath Tagore (1871-1951) with his efforts
glorified the Indian Art, which is referred as ‘Renaissance’ or ‘Avant-garde’ in Indian Art. His
iconic paintings Bharat Mata and Opri Hawake Siddh Log established the pattern of patriotism.
Second picture of Bharat Mata was painted by Shripurna Ghosh, depicting a beautiful women
wearing red bordered blue saree from the ocean water, holding ripen grains of paddy in her hand
with her head covered with ice like Himalayas that seemed to look like gild studded crown and a
pearl necklace swinging from her neck.
Bharat Mata by Amrita Shergil depicts an old woman wearing white saree with a baby in her lap
and also holding a girl child in tattered saree, all with the expressions of deep sorrow and anguish.
Some of the famous Bengali artists and art lovers established an institution named INDIAN
SOCIETY OF ORIENTAL ART in 1907. With the co-operation of sister Nivedita, Lady
Herringham, artists Nandlal Bose, Asit Kumar Haldar and Samrendranath the great Indian
Art of Ajanta, Ellora and Bagh were published in several magazines of Europe. With this European
became familiar about the greatness of ancient Indian Art, consequently the excellence of our art
started to be appreciated in Western world.
Gaganendranath Tagore’s ‘Punjab mein Shanti Ghosit’ (Declaration of Peace in Punjab) in 1919
A.D. strengthened the Indians hatred towards the English.
Nandalal Bose born in Munger (Kharagpur) studied in the Art College, Kolkata, where he was
introduced to the Vice-Principal Abanindranath Tagore and his technique of Modern Bengal
Paintings.
• With the co-operation of Abanindranath, Nandlal assisted English mural painter Lady
Herringham and was sent to prepare the facsimiles of murals of the Ajanta and Bagh Caves.
• This exposure brought wide maturity and changes in art styles.
• Sati, ‘The Death of Sati’, and ‘The God of Fire’ (Agni Devata) did the work of restoring life to
traditional Indian Painting.Shiv Drinking Poison, Parthsarthi, Returning of Buddha,
Swarnkalash, Shivlok, Sujata, Uma, Veenavadini, Ardhnarishwar, Vriksharopan, Tiller of the
Soil, Mother and Child, etc. are his famous paintings.
• His linocut made on Dandi March is very famous.
• In 1920 he was appointed as the Principal of ‘Kala Bhawan’ and has also been honoured with
particular titles from several Universities. In 1961 Govt. of India honoured him with ‘Padma
Bhushan’.
• He delineated Indian Flok Art and Indian Public Life on the panel of a pavilion made for
Haripura Conference of Indian National Congress.
TILLER OF THE SOIL (Indian Farmer)
Painter/artist: Nandlal Bose(1883-1966 A.D.)

Medium: Water colours on Paper
Circa: 1938 A.D.
SUBJECT MATTER:
• The painting depicts the hardship of farmers.
• The painting is a part of painting painted to decorate the pavilion made for Haripura Conference
of Indian National Congress.
• It has been delineated with the best combination of thick and thin cross-transverse but rhythmic
lines, tempera and wash technique of water colours on paper.
• The painting depicts Indian farmer tilling the field in traditional method and this has been
represented through three serpentine lines.
• Dark-skinned farmer has been shown with turban and dhoti white in colour.
• Plough has been shown in brown colour, bullocks in white and clothes on their backs with blue
colour.
• By making a brown coloured arch the painter has given the look of jharokha (peep hole) with
the flat yellow in the background.
❖ Means important
When asked contribution write about the above given painters, sculptors and print makers and
specifically Nandlal Bose and his painting Tiller of soil. It is according to the new CBSE
syllabus.
CHAPTER-9
“EVOLUTION OF THE INDIAN NATIONAL FLAG”
(Three Phases of Evolution of the Flag- First 1906, Middle 1921 and Final 1947 Stage)
Name of the flag: ‘The Indian National Flag known as Tricolour’
Size of the flag: in the ratio of 3:2, length is 3 metres and width will be 2 metres.
Colour Combination: Three equally proportioned stripes- saffron on top, white in middle and
green in the lower part. Ashok Chakra in dark blue colour is in the middle of white stripe.
• India’s National Flag, ‘Tricolour’ (Tiranga) is the glory of Indian people and the symbol
of their international identity.
• The ratio of the length and width of the National Flag is 3:2.
• Three equally proportioned stripes of saffron on top, white in middle and green in the lower
part with the Ashok Chakra (means Wheel of Law) in dark blue colour in the middle of white
stripe makes the Indian National Flag.
• Dhamma Chakra or Ashok Chakra taken from the vertex of ‘Sarnath Pillar’ of Ashoka
contains 24 spokes.
• Symbolic meanings of colours:

Saffron as the symbol of courage and sacrifice; white symbolizes truth/honesty and peace
and green is the symbol of prosperity and happiness. And blue colour of the Ashok Chakra
indicates the truth of the universe and represents the color of sky and ocean.
• 24 spokes represent 24 hours of a day, depicts the way of truth, moving ahead on the path
of progress, to carry the country on its apex.
• According to the Hindu religion, all the 24 spokes of the national Flag represents the Life means
‘The Dharma’ which are as follows: Love, Courage, Patience, Peacefulness, Magnanimity,
Goodness, Faithfulness, Gentleness, Selflessness, Self-Control, Self Sacrifice, Truthfulness,
Righteousness, Justice, Mercy, Gracefulness, Humility, Empathy, Sympathy, Spiritual
Knowledge, Moral Values, Spiritual Wisdom, The Fear of God and Faith (Belief or Hope).
• Indian Flag is made using Khadi (hand-spun cloth popularized by the Mahatma Gandhi).
• The shape was approved by the Indian Constitution Committee as the Indian National Flag
on the 22 nd July 1947A.D.
• On the 15th August 1947 when India became independent as a National Flag, it was hoisted
from the rampart of the Red Fort in Delhi and since then it has been a tradition of hoisting
it on various national occasions and on government buildings. Indian citizens have
constitutional rights to hoist it, but with few conditions and guidelines.
Evolution of National Flag
First
The first flag in India is said to have been hoisted on 7th August’ 1906, in the Green Park (also
called as Parsee Bagan Square) in the Calcutta (current Kolkata). The flag was composed of three
horizontal stripes of red, yellow and green. The uppermost green colour strip had eight white
lotuses. “Vande Matram” in Hindi written in dark blue is at the center of the yellow strip. And the
lowermost red colour strip had a white Sun on the left and a white crescent moon with the star on
the right.
Second
The second flag was prepared by a zealous young boy named Pingali Vankaiya of Andhara
Pradesh, during the session of the Indian National Congress in Bazawada (now Vijayawada) in
1921 A.D. It was made of two horizontal red and green stripes and in the middle was marked
Gandhi Charkha (spinning wheel) representing the symbol of revolutionaries. The green stripe
represented the Muslim community and red the Hindus. The flag however, was not accepted by
All India Congress Committee yet it remained in use as the National Flag of India.
Having seen the flag, Gandhiji expressed happiness and advised him to mark a white stripe in the
flag to represent the rest of the communities in India and charkha in blue colour as the symbol of
progress. Finally, in 1931 a resolution was passed by the Indian Constitution Committee to
formally adopt the new tri-colour flag (as suggested by Gandhiji) as our National Flag.
Final
On 27th July 1947 with the attainment of Independence, the Constituent assembly adopted the
present flag as India’s National Flag. The colours and there significance remains the same. The
Dharma Chakra of Ashoka was adopted instead of the Charkha.
CHAPTER-10
“MODERN TRENDS in INDIAN ART”
In Indian Modern Art, several disciplines such as Drawing, Painting, Photography and Modern
Sculpture have been included, where the significance was given more to Western or European
style, not to the traditional Indian style.
With the efforts of Abanindranath Tagore, towards the end of 19th century, a revolution came in
Indian Art, popularly known as Bengal School of Art. However after a period of 30 yrs., the same
style of Bengal School Art was being called archaic and conservative. Therefore many artists of
the school started to take reference from the style and movements of western world in their
paintings to gain world-wide recognition.
Gaganendranath Tagore was influenced with the dazzling urban surrounding of Kolkata and so
delineated light and shadow effect in his paintings like Cubism in Europe.
Whereas Rabindranath Tagore delineated naturality in his paintings and insisted on one expression
and the approach was famously known as Expressionism.
Jamini Roy and Nandalal Bose had rural approach in their works, influenced by their own
surrounding.
These creative works were being considered as Modern (Contemporary) Art in India.
Artists of the time were busy in defining modernity in their own ways, as some of them declared
themselves as secularist, while another group of artists took training on foreign land to prove
themselves modern.
Impressed with the communist ideology, a group of artists such as Francis Newton Souza,
Maqbool Fida Hussain, and many established a group named as “Progressive Artists’ Group” in
1947 A.D. The artists of the group declined the style of the Bengal Art and welcomed ‘International
Modern Art’. Francis Newton Souza touched the world-level heights through delineating European
style Cubism, Surrealism and Primitivism in his artworks.
However, there were few prominent artists- Manishi Dey, Mukul Dey, Ramkumar, Taiyyab Mehta,
Akbar Padamji, Prokash Karmokar, Narayan Ramchandran, who formed several art schools that
used modern techniques and ideas providing new foundation to the field of art.
• LEARN THE DETAILS OF ALL THE PAINTINGS ANF PRINTS.

• DETAILS MEANS ( THE INFORMATION GIVEN IN THE BLUE BOX)
CHAPTER-11
PAITINGS OF THE CONTEMPORARY (MODERN) INDIAN ARTISTS
CHAPTER-12
PRINTS OF THE CONTEMPORARY (MODERN) INDIAN ARTISTS
LEARN PAINTINGS AND PRINT DETAILS FROM THE BOOK
CHAPTER-13
SCULPTURES OF THE CONTEMPORARY (MODERN) INDIAN ARTISTS
Sculptures are the three-dimensional art form, made of stone, wood, wax, clay or any materials
used by the artist/sculptor of the present time to express their feelings, emotions and thoughts
aesthetically.
1. TRIUMPH OF LABOUR
Artist: Devi Prasad Roy Chowdhury

Period: Modern (Contemporary)
Medium: Bronze and Cement
Circa: 1954 A.D.
SUBJECT MATTER:
• The sculpture depicts the hardship of labours.
COMPOSITION/ DESCRIPTION:
• In its original form, this idol was made of bronze and cement on the beach of Madras (now
Chennai).
• It’s one prototype has been set up at the main gate of ‘National Gallery of Modern Art’, Jaipur
House, New Delhi.
• The sculpture depicts the hard work of the four diligent labourers in form of victory.
• They have been shown in different poses, in group trying to move a huge rock with the help of
wooden staffs.
• The hard work done has been depicted realistically with the delineation of the muscles.
• Only their loin part has been shown covered with a cloth.
• Their heads are also shown covered with turban.
• In the long run, with efforts labourers become successful in their work. This is the moral of the
idol ‘Triumph of Labour’.
ARTIST:
Devi Prasad Roy Chowdhury (1899-1975)
• Born at Rangpur, Devi Prasad Roy Chowdhury learnt basics of paintings from Abanindranath
Tagore.
• He learnt paintings on men, women and labourers engaged in work.
• He expertised in realistic representation of the entire physical anatomy.
• He was appointed as the Director of Lalit Kala Akademi, New Delhi and UNESCO Art seminar,
Tokyo.
• He was honoured with the of D.Litt. from Ravindra Bharati Vishwavidyalaya, Kolkata and
Padma Bhushan by Govt. of India.
2. SANTHAL FAMILY
Artist: Ramkinkar Baij

Medium: Cement and Concrete
Circa: 1938 A.D.
Collection: Shanti Niketan, West Bengal
SUBJECT MATTER:
• The sculpture depicts the daily life of a Santhal Family.
• The sculpture depicting santhal family has been set up in the pavilion of Shanti Niketan, West
Bengal.
• One of the figure is shown lifting bahangi made for the purpose of carrying loads.
• Its hind part shows carrying load and at front his baby to strike the balance.
• Wife has been shown carrying goods on her heads.
• Dog is shown open mouth.
• The sculptor Ramkinkar Baij has created sculpture in the easiest form with easily available
material cement and concrete used as a medium.
• Having inspired by the Santhal tribe, the sculptor has depicted their day to day life activity.
ARTIST:
Ramkinkar Baij (1910-80)
• Born in a poor family in Bankura District of West Bengal, Ramkinkar had congenital qualities
to be a painter.
• He painted Sita’s Exile, when he was just 15 years of age and was published in the magazine
named ‘Pravasi’. This got him fame and had bagged gold medal in Delhi exhibition.
• Santhal Family, Sujata, Reaper, Girl and the Dog, Returning from the Market are his few famous
paintings.
3. CRIES UNHEARD
Artist: Amarnath Sehgal

Medium: Bronze
Circa: 1958 A.D.
SUBJECT MATTER:
• The sculpture depicts poverty.
• The sculpture depicts poverty with three figures of a family.

• Their hollow dented cheeks, deformed faces and raised hands towards sky depicts their sorrow.
• Their posture screamingly reflects that they are praying ‘oh God, no one is to care for us on this
earth with exploitation, tyranny and corruption all around. Its only you can support us with our
existence! Upto when it would last!’
• The scream of the sculpture was so loud that the President of India presented a golden strip as a
reward to the sculptor Amarnath Sehgal.
ARTIST:
Amaranth Sehgal (1922-2007)
• Born in Campbellpur of district Attok now in Pakistan, Amarnath Sehgal being a science
graduate he started to work as an engineer in Lahore.
• Later he did master’s in art from New York University.
• After Indo-Pak partition he came to India and started teaching in Modern School, Delhi.
• He is also known as a philosopher, poet, sculptor and artist.
• Anguished cries (bronze), floating cries (poem) and abyss of life.
4. GANESHA
Artist: P.V. Janakiram

Medium: Oxidised copper, tin (zinc)
Technique: Etching and Aquatint
Circa: 1970-80 A.D.
SUBJECT MATTER:
• The sculpture is an idol of Lord Ganesha.
• The hex-handed dancing Ganesha is shown playing veena with two hands.
• Like a traditional form of deity the remaining four hands have been shown holding conch, mace,
wheel and lotus.
• In the idol, the aspiration of the sculptor has been manifested with the elegance of size,
continuity, structural vividness of surface, excellent embellishment with the help of wires.
• Influenced with the folk art of South India, makes it different from other traditional idols.
• The excellence of modernity and emotion of mobility is reflected in the sculpture.
ARTIST:
P.V. Janakiram
• Born in Madras (Chennai), Janakiram got degrees in Fine Arts, Sculpture and Vocational Art
from Art College, Madras.
• Ornamented with copper and thin copper wires made the idols mystic.
• Madona and Child, Flute Player, Krishna, Garuda, Ganesha and Christ are his leading idols.
5. CHATURMUKHI
Artist: Aekka Yadagiri Rao

Medium: Stone
SUBJECT MATTER:
• The sculpture depicts the life cycle of a woman.
• The excellent sculpture has been carved out of 13feet high sandy granular stone.
• The four blades of the statue depicts four unavoidable facets of a womanhood.
• The first facet depicts the story from birth to adolescent of women life.
• The second shows her virgin form.
• The relationship between woman and man has been depicted in the third facet.
• In the forth facet all the feminine aspects have been depicted.
ARTIST:
Aekka Yadagiri Rao
• Born in Hyderabad, Andhra Pradesh, he completed his education from ‘College of Fine arts’.
SCULPTURE 051
Class XII
Marking Scheme
* 350 words in 4 pages (1 question: 6 marks)
* 200 words in 3 pages (1 question: 6 marks)
*100 words in 2 pages (2 questions: 3 marks each)
* 30 words in 1 page (3 questions: 2 marks each)
*Objectives are to the point (6 questions: 1 mark each)
* total 13 questions
*always read carefully what has been asked. If asked for paintings then you have to name all the
paintings of the school then give example two or more paintingS with details, subject matter
and composition. If asked for painting, then also name all the painting of the school then explain
any one painting with details, subject matter and composition.
* if asked any one explain only one painting with details, subject matter and composition with
the introduction. (name all the paintings from the school)
* in objective if medium is asked mention technique as well and vice-versa. And if period is
asked mention circa as well and vice versa.
* when a particular feature is asked, start explaining painting with mentioning the feature
For e.g. start the answer with the historical period, painting belongs to.
Mention features
Sub-schools
Start with referring the question:
Like ‘…….. painting is the example that depict the most crowded painting of the
………… school.’
Then explain the painting with details, subject-matter and composition
* In questions related to swadeshi movement or freedom movement explain ‘tiller of soil’ but
also mention about other artists contributions and also mention about ‘Bharat Mata’
Q1.- “The tendency of composing crowded scenes involving too many figures in bright colours
is one of the main feature of Mughal Miniature Painting.” Justify the statement with reference
to a painting included in your course of study. 6
Ans. a) Historical Background of Mughal Miniature Painting and name of the Sub-schools
and their features 2
b) Name the crowded paintings 1
(babar crossing river sone, birth of salim and marriage procession of Dara Shikoh)
c) Explain marriage procession of dara shikoh as the most crowded painting
with details, subject-matter and composition 3
Total Marks 6
Q2.- What is Miniature Painting ? How did the Rajasthani School of Miniature Painting
developed its different styles. 6
Ans. a) Introduction of Miniature Painting 1

b) Introduction of Rajasthani School of Miniature Painting 1
c) sub-school and their features 2
d) explain any one example with details, subject-matter and composition 2
Total Marks 6
Q3.- Deccan Miniature Painting “Hazrat Nizamuddin Auliya and Amir Khusro” is quite
different from other. Give an aesthetic grandeur of the painting. 3
Ans. a) historical background of Deccan School of Miniature Painting with sub-schools 1

(also mention that the painting Hazrat Nizamuddin Auliya and Amir Khusro
belongs to Hyderabad school)
b) details, subject-matter and composition of the Painting 2
Total Marks 3
Q4.- Which one painting do you like or dislike among all the Mughal School of Miniature
Painting included in your course of study ? Justify your answer in detail with suitable example.
Ans. a) Historical Background of Mughal School of Miniature Painting 1

b) mention Sub-schools (with atleast 2 lines on each)
and its features and paintings also 2
c) details, subject-matter and composition of any one painting you like 3
Total Marks 6
Q5.- Write an essay on the Origin and Development of Mughal or Deccan School of Miniature
Painting. 6
Ans.
a) Historical Background of Mughal or Deccan School of Miniature Painting 1
b) mention Sub Schools and its features (name the paintings from each sub-school) 2
c) details, subject-matter and composition of any one painting 3
Total Marks 6
Q6.- Appreciate any one of the painting of the Bengal School ‘Tiller of Soil’ or ‘Radhika’
included in your Course of Study, based on the following point: 2
(i) Name of artist.
(ii) Medium & Technique
(iii) Subject matter and
(iv) Composition.
Ans.
i) Artist’s Name 0.5
ii) Medium & Technique 0.5
iii) Subject Matter 0.5
iv) Composition 0.5
(even if not asked always mention all the details like collection, circa, period
All that is given in blue box)
Total Marks. 2
Q7.- Write an essay on the evolution of Indian Nation Flag and symbolic significance of its forms
and colours.
Ans-
a) significance of National flag
b) description of the present Indian National Flag
b) how the present flag evolved in its form (explain the early two stages of the flag)
Q8.- Identify any relevant painting included in your course of study comprising of the following
features and explain them in that painting accordingly:
a. The tendency of the composing crowded scenes involving too many forms and figures in
the Mughal Miniature Paintings.
OR
b. The representation of the landscapic background with typical Deccani hills in the
Deccani Miniature Paintings.
Ans. Historical background of the school, sub-schools and its features

Start with mentioning the feature given above. For e.g. the most crowded painting
amongst all the mughal miniature painting is ‘Marriage procession of Dara Shikoh’
Or
the painting that pictures the landscape of Deccan is ‘Chand Bibi Playing Polo (Chaugan)’
Then mention details, subject-matter and composition of the painting
Q9.- Mention the titles of the Five Paintings of the Bengal School included in your course of
Study.
Ans.1 Marks each (½ for Painting and ½ for Artist’s name)

(when asked 5 paintings of Bengal school mention the four given along with Tiller of soil)
Q10.- Which Human Life –Values are expressed in any of the following Miniature Paintings?
Explain in Short
a) Bharat Meets Rama at Chitrakuta (Rajasthani School)
b) Nand,Yashoda and Krishna with Kingsmen going to Vrindavana (Pahari School)
Ans.
a) historical background of Rajasthani or Pahari School of Miniature Painting
with sub-schools
b) Description of any one painting with details, subject-matter and composition
(also mention life-values in the start)
Q11. - Mughal Miniature Paintings has the influence of European Art. Mention the Period and
its characteristics with any one example.
Ans. a) historical background of Mughal School of Miniature Painting with sub-schools

b) Art during Jahangir’s Period
c) Description of the Painting ‘Falcon on the Bird rest’
(mention that the painting reflects European influence as it depicts the realism of
European art)
.
Q12.- Bengal School is truly an era of ‘Swadeshi’ in Indian Art. Explain.
Ans a) Historical Background and Origin of Bengal School and swadeshi movement
b) Contribution of Abanindranath Tagore, E.B. Havel, and others
c) Mention ‘Tiller of Soil’ with details, subject-matter and composition
Q13.- Which work of art would you like or dislike among all the Pahari Miniature Paintings.
Give an example.
Ans a) Historical Background of Pahari School of Miniature Painting and its features
b) sub-school and its features
c) Description of Any one Painting you like
with details, subject-matter and composition
Q14. Bengal School of Art was associated with the Indian Nationalist Movement. Briefly
explain.
Ans. a) Historical Background and Origin of Bengal School
b) Contribution of Abanindranath Tagore, E.B. Havel and others
c) Mention ‘Tiller of Soil’
Q15.- Appreciate the Compositional aspects of the following Contemporary (Modern) Indian
Art works:
a. Santhal family or triumph of labour
Ans. a) historical background of Contemporary (Modern) Indian art

b) mention the name of all the sculptures
c) Description of any one sculpture with details, subject-matter and composition
Q16.- Write an observation note on any of the following with special reference to the Painting of
Bengal School included in your course of study:
(a) The creation of mystic and mellow style by using gloomy colouring with defused light
background and absence of any dark line or tone, which provide the experience of the
astral-world.
OR
(b) The delineation of attenuated human figures with extra elongated limbs and tapering
fingers, which reflect the experience of the Rajasthani, Pahari and Mughal miniatures. Hence
emphasis on European realism is terminated.
Q17.- Which one painting do you like or dislike the most among all the paintings of the Bengal
School Art included in your course of study? Give your appropriate reasons in detail in light of
capability of its artists in handling the medium and technique, depiction of the subject matter
and composition. 3
Ans. 1. historical background of Bengal school 1

(contribution of Abanindranath Tagore and E.B. Havel with the features)
2. name all the paintings. Describe the one you like 2
Q18.- What do you mean by Modern Art in India. Explain when and how it started? (6)
Ans. 1. introduction of Modern trends in Indian art and examples of few sculptures, paintings and prints
(examples should be from all three) 2
2. explain one two example of sculptures 4
Q19.- Write an essay on the Origin and Development of Modern Trends in Indian Art. (3)
Ans. 1. Introduction of Modern trends in Indian art (name few works) 1

2. give any one example (sculpture) 2
Q20.- Prof. E.B.Havell along with Abanindranath Tagore played an important role in the evolution of
Bengal School of Art. Explain in detail.
Q21.- Write an essay on the origin and development of Bengal School of Painting. 3
Ans. 1. Historical background of Bengal School of Painting and name of the paintings 1
(contribution of Abanindranath Tagore and E.B. Havel with the features)
2. explain any one 2
Q22.- Describe the main features of Bengal School of Painting. 3

Ans. 1. Historical background with features and contribution 1
2. explain any one painting 2

Final Notes

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Final Notes

Uploaded by

Copyright:

Available Formats

WHAT IS MINIATURE PAINTING?

ORIGIN AND DEVELOPMENT:

FEATURES/ CHARACTERISTICS/ ARTISTIC ASPECTS OF RAJASTHANI SCHOOL

❖ Palambhagwat of 1555 AD is the most developed form of Mewar style.

Composition/ Artistic aspect/ Description:

❖ Portrait of Raja Anirudha Singh Hara.

Composition/ Artistic aspect/ Description:

❖ In the beginning it was known for Pali Ragmala.

❖ The painting shows six Princesses playing Chaugan (Polo).

Composition/ Artistic aspect/ Description:

❖ The painting depicts six princesses playing polo or chaugan.

Composition/ Artistic aspect/ Description

❖ Mysterious beauty of women is the main subject of Kishangarh style of painting.

❖ It is a portrait of Radha (Bani-Thani).

❖ This is one of the famous painting of Rajasthani School.

❖ It got patronage in the reign of King Sawai Jai Singh.

Composition/ Artistic aspect/ Description

❖ The episode of Ramayana through 49 human figures has been depicted.

1. Briefly mention the style of Kishangarh sub-school of Rajasthani School of Miniature

2. How the artists created a new style of paintings in Bundi sub-school.

3. Artist of Rajasthani School of Miniature Painting excelled in portrait painting. Give an

5. Briefly mention the main features of Rajasthani School of Miniature Painting.

6. Appreciate the painting “Maru Ragini” based on its

8. Write short note on Mewar style of Paintings with its characteristics.

12. Write short note on the paintings of Bikaner sub-school.

16. Write an essay on the evolution of Rajasthani School of Miniature Painting.

18. Describe the aesthetic grandeur of the painting “Radha (Bani-Thani).

21. What are main subject matters of Jodhpur school?

23. There is a subjective vividness in Miniature Paintings painted in Rajasthani School.

ORIGIN AND DEVELOPMENT:

STYLISTIC FEATURES/ ARTISTIC ASPECTS/ CHARACTERISTICS OF PAHARI

1. The Himalayan environment

❖ The painting depicts Rasleela scene.

Composition/ Artistic aspect/ Description

❖ It is famous for both individual and subjective style of paintings.

❖ Miniature paintings of Kangra are the glory of Pahari Miniature Painting.

Composition/ Artistic aspect/ Description

❖ Painting depicts charmness of colours, clarity in expression and tenderness in beauty.

2. Mention the artistic aspects of Garhwal paintings.

7. Describe the sub-schools of Pahari Miniature Paintings.

8. Explain the following:

9. How Guler sub-school developed its style of paintings in 18th Cent.

10. Briefly mention the stylisation of Chamba paintings.

ALL THE BEST

CHARACTERISTICS OF MUGHAL MINIATURE PAINTINGS

“ART DURING AKBAR’S PERIOD”

❖ Akbar is acknowledged as the father of Mughal Art.

❖ Excellent colour mixing.

“ART DURING JAHANGIR’S PERIOD”

3. FALCON ON A BIRD- REST

❖ PAINTER: Ustad Mansoor

COMPOSITION/ ARTISTIC ASPECT/ DESCRITION:

“ART DURING SHAHJAHAN’S PERIOD”

❖ Shahjahan preferred architecture rather than paintings.

❖ Nature and background was more placid, tender and attractive.

4. KABIR AND RAIDAS

❖ PAINTER: Ustad Faquirullah Khan

COMPOSITION/ ARTISTIC ASPECT/ DESCRITION:

“PROVINCIAL MUGHAL/ DECLINIG OF MUGHAL ART”

5. MARRIAGE PROCESSION OF DARA SHIKOH

❖ PAINTER: Haji Madni

4. Describe the origin and development of the Mughal Miniature Painting.

a) Babur Crossing the River Sone