ART APPRECIATION

RAJPUT MINIATURE
The Rajputs descend from the
Gujarat
Pratiharas
Huna
other central Asian tribes
who invaded India in the 5th & 6th century A.D.
Rajput painting was a completely indigenous school, essentially
religious and
Hindu in character owed nothing to the secular and foreign style of
the
imperial Mughal court.
Rajput painting can be broadly classified into two styles, based on
geographic
and stylistic differences-the Rajasthani School and the Pahari
school, each of
which is a composite unit comprising many sub-schools.
 Rajput painting

Rajasthani school Pahari School

1. Mewar 1.Basohli
2. Bundi 2.Guler
3.Jaipur 3. Jammu
4. 4. Kangra.
Kishangar 5. Garhwal.
h
5. Kotah
CharacteristicRAJASTHANI SCHOOL
features of Rajasthani painting
•Flourished between the 16th and early 19th centuries.
•Rajasthan is divide into regions
Aravalli hills (north to south)-Mewar, Bundi,
Desert states (west) – Kishangarh, Kotah.
•Subject matter / themes-
Religious themes- illustration from the Ramayana and
Mahabharata
Works belonging to the Krishna cult such as the Gita govinda,
Bhagavata purana.
Works of Surdas, Keshava Das and Bihari Lal.
Theme of Radha and Krishna is the most profusely illustrated.
•The propounding theme is love, treated in a variety of ways, such
as
the ragamala (musical modes)
Baramasa (12 months i.e. seasons)
nayaka-nayikabheda (classification of heroes and heroines)
•Secular – court scenes and royal portraits
•The general style of Rajasthani painting is characterized by
primitive vigor
bold outlines
brilliant colors set into harmonious patterns.
•Treatment of facial types, local scenery and technical details are
different in each sub school.
•Early Rajasthani paintings are lifeless-no more than a slightly
improved version of the central Indian style.
•Later paintings in the middle of 17th c. it blossomed into great
beauty and vigor.
•Pictures reflect the artists zest for life, his delight in nature and his
love for romance and fantasy.
•Vibrant, glowing colors, highly decorative design and competent
technique, the entrancing love Radha showed him and the legendary
episodes of devotion and courage.
 •Technique of Rajput miniatures.
The outlines were first drawn in light red with a brush then the
whole surface of the
paper was covered with white starch paste. The outlines were
again drawn in black,
a first coat of paint was applied to the figures, then the
background was colored, MEWARand SCHOOL
 Mewar theoccupies
figures were re-painted.
an important place in the Rajasthan School.
 This school saw its climax during the reign of Raja Jagat Singh (1628-
1652)
 The paintings of this period are characterized by bright colors, lush
vegetation treated
decoratively, scant perspective to represent the simple architectural
details, and a
definite facial type-oval faces, narrow foreheads, prominent noses,
fish-like eyes and
small mouths, white horses and elephants are painted more
 •Ragamala (necklace of musical modes) is a unique invention. It
gives a definite pictorial form to the ragas (musical modes of
classical music) by personifying them.
•Radha and Krishna – Geet Govind, etc.
•Court scenes.
•Genre scenes-depiction of general life.
• This school could not reach very high up in its standard as a
classical art but even then the ornamentation and compositions
are remarkably good and worth mentioning.
(Eg)Chaurapanchasika series
• Chaurapanchasika by the Kashmiri poet Vilhana (late 11th
or early 12th century), was a favourite theme of Rajput
painters.
• It deals with a thief’s nostalgic reminiscences of his secret
love for the princess whom he is eventually allowed to
marry.
 •depicting the meeting of
the poet (thief) with his
beloved
• contains many elements
of the central Indian style
which resulted from the
fusion of the western
Indian Jaina manuscript
style with Persian
influences.
•The colors remain bold,
the features angular, the
• Champavati the heroine wears a diaphanousproportions rather
odhani (veil fringed with
tassels) over a tight choli and skirt. awkward.
• Her hair is plaited long and the jewellery is•The figures stand out
profuse.
• She presents a picture of coquetry- advancingdistinctly from
with her feetthe black
, bur
turning her head away in coy retreat. background.
 • The man wears a kulah(conical cap), a long four- pointed muslin
coat, churidar pyjamas and pointed shoes and his stance bespeaks
sheer vanity.
• A typical Mewar product, in the painting is the checked bedspread,
found in many of these pictures.
•earliest
expressive
datedgestures
exampleshow a definite
of Mewar improvement
painting on the Central
is the Ragamala series
madeIndian style. (earlier capital of Mewar) in 1605 by Nasiruddin
in chawand
(sometimes called Nasiradi)
This Ragamala (Necklace of Musical Modes) is a unique Indian
invention.
It gives a definite pictorial form to the ragas by personifying them.
The six principal ragas - male modes, each wedded to five female
counterparts called raginis, - total of thirty-six. Further elaboration
brings forth janyaragas.
Particular ragas and raginis have been assigned to the mood or
sentiment of particular seasons and times of the day and night.
 Dipak raga •The Dipak raga of the Chawand series
is essentially a 2Dcomposition filled in
with flat areas of colour, mainly red,
yellow and black.
•The red background, a Central Indian
tradition, symbolizes passion.
•The sky and landscape are also
conventionally treated.
•The pavilion on the right is in strict
frontal view, with no attempt at
perspective.
•A man and woman, seated to the left,
listen
•The facial features resemble the to music playedtype.
Chaurapanchasika by a figure sitting
ontreatment
•A rustic vigour, apparent in the the extreme left.figures, foretells a
of the
period of maturity in the near
 Period of maturity
bright colors
 lush vegetation treated decoratively
 scant perspective to represent the simple architectural details
 definite facial type- oval faces
narrow foreheads
prominent noses
 fish-like eyes
small mouths.
While horses and elephants are painted more naturalistically
the birds and other animals still follow the Western Indian idiom.

Sahibdin was the greatest master of the mature Mewar style.

His work includes a
• Nayaka- Nayikabheda (classification of heroes and heroines)
series,
•A Bhagavata Purana (1648) , of the Ramayana(1652)
 Vasantha Ragini (1650)
One of the Ragamala series,
exemplifies the typical mature Mewar
style.
Flanked by three Gopis Krisna dances
under flowering trees with many birds
and two peacocks.
The vivid lacquer red of the
background forms the dominant colour.
The gopi on the left plays a drum
while the one on the right holds
cymbals.
The third one has a gun for spraying
coloured powder at the time of the Holi
festival.
The picture conveys the exhilarating mood of the coming of spring.
A blue sky
Krisna’s edged by coat
transparent a white
withwavy
tight churidar pyjamas reflects
line crowns the scene.
 BUND
I the only other state in Rajasthan to exhibit a genuine
• Bundi became
style of painting.
• Its glorious productions reflect its picturesque landscape of hills,
thick jungles, flowing river lotus ponds and lakes alive with water –
birds.
• Ragamala
Human series
figures stillcan
characteristic be
of assigned
conform to the earliest
to a regular
bundi type:
painting and formative period
of Bundi
They paintings
usually have a (1625
reddish– –1640)
brown complexion
. ladies, with pinched waist, prominent nose and almond – shaped
The
eyes, wear odhani (veils), choli (blouses) and ghaghra (skirts) in Indian
fashion.
The men wear the Muslim type jamas (long transparent coats) over
churidar pyjamas and Mughal-type turbans occasionally adorned with a
feature.
Usually the setting is a landscape, which at times incorporates doomed
pavilions and interiors with alcoves.
The doors and windows have rolled-up curtain beneath chajjas
e.g. The Bhairavi Ragini
•It shows a lady worshipping a
lingam inside a domed shrine.
•The lotus pond in front teems with
fish and waterbirds.
• The lady’s rounded chin, her eyes
and other features, as well as the
dark colours, recall the Mewar
style, while the trees in the
background and the lotus pond
reflect the Bundi landscape.
•The rendering of the lotus pond
however may also derive from
Mandu.
•A band(eg) Krisna subduing the snake
of masonry running horizontally
Kaliya
divides the picture space into two.
•The lower part shows Krishna standing on
the serpent’s hood and playing the flute.
• Snake maidens on both sides join their
hands in prayer for the naga’s release.
• A tree flanked by a group of figures forms
the central motif of the upper area.
•To the left a party of musicians sit in front
of a house.
• On the right milkmaids express wonder
and gratitude through their gestures.
•The whole composition embodies a well-
knit design.
•The facial type has been given its final
shape- namely soft rounded cheeks, almond
 (eg)Vasantha
Typifies the Bundi Ragini
style at1660
the .
height of its glory.
It shows Krishna with the usual
dark blue complexion dancing
beside a lotus pond with a pair of
gopis to his right.
Another one on his left beats a
drum.
The lively rhythmic gestures
contrast with the conventional
treatment of the rippling waters of
the pond, the grass, trees and
flowers.
These enhance the romantic mood
of the scene.
The lotus pond with birds
characterizes the Bundi style.
Towards the end of the 17th century, the Bundi style underwent further
changes
•The faces become more refined and have a flesh-pink color.
•Water is stylized into wavy white lines rippling on a dark indigo
background.
•Vivid colors in various shades enrich the landscape
•Orange, blue, white, gray and gold clouds hang in the sky. In the early
18th century these developments gave rise to a soft style of delicate
charm combined with hard outlines and violent movements.
Bundi artists’ had a special gift of portraying elephants-undaunted
by the bulk of these huge animals; they tackle them with confident,
fluid, outlines.
Eg. Summer elephant.

Glows with hot colors, red, orange and

yellow-effectively portraying the
scorching summer heat.
 Eg. Hour
Krishna oftheCowdust
drives cattle home
while the gopis await him on
their balconies.
One can almost hear the tinkle
of the cowbells and stamping of
the hooves as the cows jostle
each other on the narrow lanes
of Gokula.
Dramatic clouds fill the sky
and even the gods have come
out to share the magic of the
moment.
JAIPUR
Jaipur was the first Rajasthani state to fall in line with the
Mughal policy of empire building and the ruler became
faithful generals and administrators of the Mughal emperors.
Strong mutual cultural contacts existed between Delhi and
amber.
A flourishing school of court painters was patronized at
Jaipur, and the pictures of pomp and splendor and royal
portraits were commissioned.
Jaipur style emerged after the Mughal influence was
thrown off in the late 18th century.
Under the personal inspiration of the rules, Pratap Singh,
many pictures devoted to the Krishna theme were executed.
Over 50 artists worked under him.
 Eg. The ring dance – 1800
 Shows Krishna
performing a folk dance
as described in the
Prema Sagara (ocean of
love)
 Under the clear autumn
sky bathed in the cool
light of the moon,
Krishna called the gopis
with his enchanting
music and danced with
them.
 Standing with his
favorite in the center of
concentric rings of
 The gods come out to enjoy the beauty of the scene and shower
blossoms on the dancers below.
 The gopis in the inner circle wear red and orange, those in the middle
ring green while outer ring have black clothes.
 The profusion of gold dots and borders gives the painting a jewel-
like quality.
THE DESERT KINGDOMS – BIKANER.

After Bikaner and Jaisalmer accepted Mughal sovereignty in

1750 a number of artists from Aurangzeb’s court migrated to
Bikaner which became an important center of painting with a high
Mughal character.
Ali Raza who worked for Karan Singh, who painted portraits in
the Shah Jahan style, was an important master.
Eg. Krishna supporting mount Govardhan (1690).
•Painted by Shah din.
•Serenely Krisna holds up
the mountain to provide
shelter for the cowherds,
threatened by a cosmic
downpour instigated by
Indra.
•Semi- transparent clouds
cover the mountain peaks.
•Indra looks on from his
white elephant at the top
•corner to the right.
The shepherds and cowherds gaze in wonder and rapture at their
protector while the unruffled cattle display complete trust.
• The fine drawing, the clever use of jewel-like colours, landscape details
and treatment of cattle derive from the Deccani style of Golconda.
JODHPUR
1.Jodhpur is the largest state of Rajasthan and the home of the
Rathore clan of Rajputs, claiming descent from Rama.
2.During the 15th &16th centuries jodhpur painting followed the Jaina
style of western India since the patrons were usually Jaina
merchants.
3.Contact with the Mughal started in 1581.
4.A true jodhpur style developed only between 1760 and 1780 during
the reign of Bijai Singh when the Rajasthani preference for rhythmic
lines and jewel-like colors asserted itself.
5.The Mughal influence however shows up in the graceful and
romantic figures of the women silhouetted against a dark
background.
6.Depicted usually as playing with birds or flying kites, they present
a picture of charming simplicity.
7.Their beautifully long uplifted eyes are a notable feature of the
jodhpur style.
 Eg. Dhola and Marvani

•Shows Dhola and Marvani

riding their favourite camel Maru
is an exquisite example of a
highly decorative design.
•The uplifted head and angular
legs of the animal give a sense of
movement.
•The outlines of the riders echo
the main curves of the camel’s
body, while Marvani’s odhani
(veil) and the camel’s tail take up
a minor rhythm.
•The colours sparkle like enamel
on a neutral blue background.
KISHANGARH

1.a sudden spark of genius lit up a new school of painting in a

small state of Kishangarh.
2.Its ruler Raja Sawat Singh (1748-1757), a great devotee of
Krishna, wrote many poems under the pen-name Nagari das
3.He fell in love with a maid of his stepmother’s entourage called
Bani Thani - who was also well – versed in poetry.
4.She accompanied him to Brindavan where he died 7 years later.
Soon after his death the best Kishangarh paintings were produced.
5.Their hallmark is a new and beautiful type of Radha and
Krishna.
6.The artist Nihal Chand is credited with the creation of this
distinctive type with Bani Thani as Radha and Sawat Singh as
Krishna.
Eg. Portrait of Bani Thani as Radha

• Her long eyes, narrower than the Jodhpur type and tinged with a
lotus-pink hue, curve upward.
• This Radha face is unique in the exaggerated arch of the
eyebrows, the decorative curl of hair spiraling down the cheek in
front of the ear, the long straight nose, their lips and pronounced
chin.
• Krishna’s sharp features give him an aristocratic as his orange –
colored turban decorated with pearls complements the pale blue
KOTAH
.The final scene in the unfolding of Rajasthani painting.
.Kotah artists’ contribution to the world of painting is unique.
.Theme / subject – jungle with its wild life; hunters play a minor

In the 19th century this bold clarity gave way to

delicate refinement of forms and fauna as in
Jahangir’s time.
Rajasthani painting drew to a close on this note
of keep interest in nature and the typical Indian
feeling of oneness with all creation.
Eg. Raja Ummed Singh shooting tigers from a tree (1790)
•The thrill of adventure pervades the silent, eerie moonlit nights
and the terrible sweet smell of the tiger seems to waft up to the
hunter lying in wait on top of a tree.
•The Rajasthani love of boldly simplified forms, as opposed to
the Mughal love of detail, stands out in the treatment of jungle
vegetation, hunters and animals.
•The handling of jungle scenery has a superficial resemblance to
the paintings of Henry Rousseau.
•The forms employed by these artists have no ulterior meaning.
•While the buffalo and tiger are locked in life and death struggle,
an eerie stillness haunts the scene.