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217 views15 pagesRajasthani
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/ 15
(A) The Rajasthani School
(1) Origin and Development
(2) Sub-Schools—Mewar, Bundi, Jodhpur, Bikaner, Kishangarh and Jaipur,
(3) Main features of the Rajasthani Schools
(4) Study and appreciation of the following Rajasthani Paintings :
Title Painter Sub-School
Maru-Ragini Sahibdin Mewar
Chaugan Players Dana Jodhpur
Krishna on Swing Nuruddin Bikaner
Radha (Bani-Thani) Nihal Chand Kishangarh
Bharat meets Rama at Chitrakuta Guman Jaipur
(B) The Pahari School
(1) Origin and Development
(2) Sub-Schools—Basohli, Guler, Kangra, Chamba and Garhwal
(3) Main features of the Pahari School
(4) Study and appreciation of the following Pahari Paintings :
Title Painter Sub-School
Krishna with Gopis Manaku Basohli
Nand, Yashoda and Krishna with Nainsukh Kangra
Kinsmen going to Vrindavana
(x) ark,| (A) |The Mughal School
10 (1) Origin and development
lO (2) Main features of the Mughal School
10 (3) Study of method & material and appreciation of the following Mughal
Paintings :
oO Title Painter Period
Krishna lifting Mount Goverdhana Miskin Akbar
ei Falcon on a Bird rest Ustad Mansoor Jahangir
Ustad Faquirullah Khan Shahjahan
Kabir and Raidas
Marriage Procession of Dara Shikoh
Haji Madni Provincial Mughal
(Avadh) GEOGRAPHICAL SITUATION : Rajasthan is surrounded by Pakistan,
Punjab, Haryana, Uttar Pradesh, Madhya Pradesh and Gujarat.
Rajasthan means place of Kings (Rajas) or place of States (Rajaya’s) as
there were so many kings and states in earlier times.
Rajasthan Art is not a new School of Art but it was a refined and purified
form of the same Indian Traditional Art which was developed in Rajasthan,
Gujarat and Mewar. It is also known as Rajasthani or Rajput or Hindu School
of Art. This art was based on Hindi literature, Music, Poetry, Religion, Rag
and Raginis, Ritikala Paintings etc.
ORIGIN AND DEVELOPMENT OF RAJASTHANI ART : Rajasthani
School did not originate as miniature but it was primarily a mural art. This
art was developed under the Rajput kings so it is called Rajput Art. A number
of paintings were done on romance and general folk themes.
Rajasthani art flourished due to two major factors : firstly, the economic
prosperity of the commercial community which encouraged literature, music
and the arts and secondly, the revival of Vaishnavism and the growth of
Bhakti cult against caste system which was dividing Hinduism.
Mewar has an important place in the development of Rajasthani school
of Art. It is a mixture of Gujarat and Jain school along with original Indian
Art. But Rajasthani school of Art is a pure Indian Art. Even today Nathdwara
Paintings are very famous; more of the paintings depict love scenes of Radha
and Krishna. The estate (Jagir) which was inherited by Kishan Singh the
eighth son of Raja Udai Singh of Jodhpur is known as Kishangarh. This
state is surrounded by Jaipur, Jodhpur and Ajmer. The palace of Kishan
Singh is situated on the bank of a beautiful Lake.
After Kishan Singh, Raja Raj Singh the father of Raja Sawant Singh ruled
the state of Kishangarh and the Art reached at its climax during his reign.
Kishangarh Paintings are very famous even today. If we want to show the
typical Rajasthani Painting then we can show Kishangarh Paintings which
are world famous e.g., Radha, Bani-Thani.
The pictorial Art of Rajasthan shows the sentiments of love and devotion
with exuberant joy of life. Central theme is love. Love is conceived as the
symbol of union. The lovers were always presented as Radha and Krishna.
The figure of Krishna stands for divine-soul and Radha for human soul.
== SUB-SCHOOLS OF RAJASTHANI SCHOOL
Mewar School : The whole Rajasthan was affes
.cted by the attack of t
; i . This w
Mughals but Mewar did not come under their control tl eit :
the reason that Rajasthani hol flourished in its Pian Garh, Bikaner a
Jater on in Jaipur, Jodhpur, Amber, Kota, Bundi, Kis ,
other places of Rajasthan,
ins f central Indian e
Mewar contains elements of centra : es
Western Indian Gujarat-Jain manuscript school with Persian influ
gt" ; which proves that they are dat
back 10 the 1 on h hikha series. Proportio
according to Indian historians) and Chaurpanetishiktha Were
were not perfect but bold colors and angular features fae
jecting eyes got eliminated by more naturalistic drawing. : S
ied enale series in their formative years under the ee eel
Rana Pratap followed by other literary and religious works in the most devetop
stages during the reign of Jagat Singh I, Sahibdin was the greatest mas
mature Mewar style whose works are found in abundance. His style broug
sophistication to the folk styled art.
Bundi School : This school developed in Kota-Bundi (unified state t
the second quarter of the 17" century) and Jhalawar in the beginning of t
17 century under the Hara Rajput dynasty, The human figures resemt
Mewar but look more expressive due to shading and roundness on reddi
brown complexion, Natural forms are also more realistic. Ragmala series domin:
the formative period. During further growth in style, faces got refined a
flesh became pinkish, water got stylized in white wavy lines and colors g
richer, Barahmasa and Rasikpriya were added as themes, Climax was reach
by the middle of 18" century after Mughal influence started showing in shadir
finer lines of the face and receding lines for perspective. Deccani influen
can be seen in cylindrical forms of women, gardens, fountains and architectu
Jodhpur School : Jodhpur (Marwar), the largest state of Rajasthan w
home to Rathore clan of Rajputs. Initial phase followed Jain style of painti
because the patrons were Jain merchants. Then came Mughal influence as
result of a few matrimonial alliances with Mughal rulers where royal portra
were more prevalent. A true Jodhpur style came up in between 1760 and 17:
when rhythmic lines and jewel like colors showed up in compositions. Femé
figures had charming simplicity and beautiful long uplifted eyes. The peak
maturity was achieved during the early 19" century under Man Sigh, a gre
patron and a poet himself. Illustrations based on Siva Purana, Nalacharit
Durgacharita and Panchtantra were painted in this phase. A Ragmala $
was painted by artist Virji and portraits of a war hero called Durgadas Rathore
horse riding portraits were also popular.
Bikaner School : With its beginning after the 17" century, Bikaner Scho
was completely under the mughal influence either because the expelled ait
of Mughal courts took shelter here or because the rulers received paintin
=<
style which itself is a blend |. goodwill gifts from the Mughals, Raja Rai Singh was particularly influenced
hehe Mughal Art. One manuscript found in this era, Meghdoor is in
¥% pbhransha style.
a the later kings Karan Singh and Anup Singh did some patronage but
constant oppression of Mughals did not let art prosper, Libraries were setup
der Anup Singh that kept records of manuscripts and paintings. The ateliers
2) workshops were known as Mandis and the artists who managed them were
‘A uknuddin Ibrahim and Nathu to name a few, The subjects painted often
's griginated from Indian mythology. Scenes from the Ragmala, Bhagavata Purana,
4 and Rasa lila were painted.
‘The Bikaner style of painting had finer lines and a lesser range of colors
an what are typically present in the Mughal artwork. Some developed form
4 if Bikaner art can be seen in palace walls of Anup mahal, Sujan Mahal etc
here Barahmasa and Ragmala were painted. All artists were muslim but painted
© Hindu themes skilfully, Rasikpriya and Varsha Vihar to name a few. Some
4 artists names that stand out in record are Ustad Ali Raza, Nurudin Isa etc.
Kishangarh School : The estate (Jagir) which was inherited by Kishan
| singh, the eighth son of Raja Udai Singh of Jodhpur is known as Kishangarh.
il This small state surrounded by Jaipur, Jodhpur and Ajmer saw a sudden
1 spark of genius when art of other states was almost nearing the end during
| the reign of Raja Raj Singh and later his son Raja Sawant Singh.
Sawant Singh was a scholar and an expert in Music, Poetry and Painting.
1A devotee of Krishna and a follower of vallabh sect, he wrote over fifty books
(under pen name Nagri Das. He fell in love with a girl who served as an
| attendant to his stepmother. This girl whose real name is not known, was
| called Bani Thani which means smart and well-dressed. She was a dancer,
singer and had knowledge of poetry. They got married and went to Brindavan
to spend their life there. They both became a very popular subject for the
artists and were portrayed as Radha and Krishna. Radha of Kishangarh or
Bani Thani by Nihal Chand is the most famous painting of that time.
Apart from illustrations on Sawant Singh's work, the scenes from the court,
royal portraits, Bhagvat Purana, Bihari Chandrika, Nayak-Nayika bheda and
Geet Govind were also painted. Beauty in depiction of women is a chief
achievement of this school, Bani Thani being the prime example. Kishangarh
School is the most stylised of all sub-schools of Rajasthan. There was a general
tendency to elongate human form, facial type was distinct with a lock of hair
at cheeks. The landscapes were panoramic with lavish use of green in them.
Jaipur School : The Jaipur School reached its peak in the 18" century
A.D. when Mughal influence weakened after the rule was ousted. Before
hat under Jai Singh I, the close alliance with Delhi and patronage in art by
Akbar remained deep rooted. Though artists tried to come out of the mughal
nfluence with subjects from Hindu epics and the romances of lord Krishna,
he effect remained. Jai Singh II shifted the capital to Jaipur from Amber
ind reorganised Surat Khana (painting workshops) where paintings were made
=aD= to a plane two-dimensional effect.
and stored, Sahibram was an accomplished portrait painter and Me
Shah was another artist. Later with Mughal expertise in limited
sense of space in the background, they were ready to make they 2%
in bold compositions and use of stylization under Pratap Singh, who”
around 50 artists in his atelier. emy
The subjects were life-size portraits, Ragmala, Lord Krishna ang
Rajput princes. camel fights, Pomp and ceremony of the royal court BR
Purana, Ramayana, Mahabharat and different amusing and erotic themes
MAIN CHARACTERISTICS OF RAJASTHANI SCHOOL OF Ay
The art of Rajasthan is characterised by primitive vigor, bold ou
and brilliant colors. However the treatment of facial types, local ea
and technical details are different in sub schools. Some general features
as follows:
1. Diverse Sub-matter : The themes of the paintings were as fol
us Paintings : Ramayana, Mahabharata, Radha Kri
Bhagwat Puran, Durga Mahatmaya ete
(ii) Literary Paintings : Other than the above subjects inspired
epics. devotional poetry, romantic poetry and Indian
also their themes. Bhakti Riti Kavya, Geet Govind, Si
Ragmala, Rasik Priya, Ramchandrika, Nayak-Nayika Bheda, B:
Panchtantra are the examples of the illustrated literary themes.
(iii) General : Court scenes, Battle scenes, portraits, night scenes, ge
life, ballads and folklores have been beautifully painted in Rajas
schools of Art.
(iv) Paintings on Folk Legends and other romantic tales : Such as DI
Maru, Sohni-Mahiwal, Mrigavat, Chaurpanchshika and Laurchand
2. Linear Beauty : Since this art developed from Western and Cent
Indian schools, bold lines are apparent in the initial phases. Later line bec:
thin, rhythmic, soft and graceful in all sub-schools of Rajasthan.
3. Colour Scheme : Colors bring out the effect of all emotions,
instance, red for anger, passion and fury, yellow for marvelous and blue
royal splendor. Mostly bright and glowing colours are used carefully i
harmonious contrast. The pure hues of red, yellow, blue, brown, white wit
mixing any other colour are used. In some paintings gold and silver col
have also been used. Background is mostly flat.
4. Two dimensional Paintings : Contours are defined with simple li
and flat colors are used in the background without any gradation. Perspect
details, horizon or skyline are not of much importance to these artists lea
5. Symbolism : Radha and Krishna have been depicted symbolically
the form of human soul and God. Krishna and Gopis stand for devotion romance. Natural elements, birds and animals are used as tools for portraying
Bhava be it Ragmala, Barahmasa or any other romantic illustration.
6. Spiritual Love : The pictorial Art of Rajasthan shows the sentiments
of love and devotion with cheerful joy of life. Central theme is love which
is conceived as the symbol of spiritual union. Radha-Krishna, Nayak-Nayika
Bheda, Ragmala, Krishna-Gopis are a few themes which glorify the romantic
element of Rajasthani art and the overall passionate character of its people.
7. Stylisation : Trees are ornamental, repeated shapes of leaves are painted
in light and shade. Sometimes they appear only for ornamentation in the
composition.
% Human Figure : During the period of folk art influence, figures were
all identical, they had round face with pointed nose and elongated eyes
Body is smaller in proportion to the face but improved in later decades
Men have robust body, yellowish skin and hair reaching till ears. Female
figures are frequently painted. Their faces are brighter with shapely bodies
and expressive faces. Human faces are shown from different angles, mostly
faces are profile in Ek-chashma. However, in Bundi there is light and shade
on faces and expressions differ.
9. Depiction of Nature : Nature has been beautifully depicted in
Rajasthani Paintings. Different Trees, Mountains, Water Springs, Floral Trees
and Lakes have successfully depicted the beauty of nature. Animals and
birds came as Mughal influence. Though their execution is not very proficient
initially but improved later. Nature also compliments as a tool for emotional
expression. Clouds, birds, streams add to the idea of romance be it union or
separation. Trees, creepers and flowers add to the romantic charm
10. Depiction of Women : There is brilliant representation of feminine charm
in different modes and moods. Women have soft faces. Face and neck are
long with high sloping forehead, long pointed noses and well cut lips. Limbs
are shapely with thin fingers. The metaphors! are drawn for feminine ideals
= bodies are slim, flexible and tall like creepers: eyes are like wagtail (khanjan
pakshi) or lotus and eyebrows are the shape of a bow,
Interestingly, they all resemble cach other, apparently one face was
duplicated for all. The women of Kishangarh deserve a special mention with a
highlight of a lock of hair hanging near the ears adding to the feminine beauty.
The ‘Radha of Kishangarh’ or ‘Bani Thani’ is world famous painting of Rajasthan.
A postal stamp was also issued by the Indian Govt. based on this painting.
11. Ornaments and Garments : Diamond and pearl studded jewellry in
meticulous designs is commendable. The royal ensembles comprise of earrings,
rings, armlets, bangles, elaborate forehead adornments and necklaces. Garments
in great variety are highly decorative. Ladies have been shown wearing
Lehanga and Choli with Transparent Chunni. Males have been shown wearing
high turbans and Jhabba (a bunch of threads). Pajama and Rajput style
Patka is also there. Floral prints and stripes can be seen in ghagras.
T- symbols for comparison aa
28 12. Landscape or Seasons Painting : Landscapes have been beautifi
painted in different seasons. Painting of Barah Masa is the depiction
various seasons during twelve months. Water is 4 mix of blue and bi,
and waves are shown in white. In Bundi paintings, red band of sunset ;
is seen along with blue. Sunrise in golden hues looks splendid. Perspect
has never been a main interest but depth is achieved as styles evolved.
13. Effect of Folk Art and Mughal influence : Folk Art is prominent in
Rajasthani paintings before they got influenced by Mughal art in later stag
During the initial phase, figures are smaller in proportion to the faces, |
as they progressed, bodies became more robust and complexion became m
Indian.
14. Night Scenes : Night scenes are painted in a very attractive way. Bl
or smoke grey colour of the night sky lends beautiful contrast to the wh
and yellowish golden colour of the Moon and Stars and colorful foregrou
of human figures.
15. Large Paintings : In comparison to other paintings of Rajasthan, |
Kishangarh paintings are larger in size known as Pichwayi (Back Curtai
These were used for plays at the back, but in Bikaner school we find bc
miniature and wall paintings.
16. Hunting Scenes : Depiction of Animals and Birds being hunted t
been done as the effect of Mughal School of Art
17. General life : Art was not restricted to the royalty only, the them
of religious, romantic and social life had reached the masses as well. Da
life activities, festivals, village life, marriage procession etc. were also painte
18. Crowded Scenes : In some paintings like “Govardhan Dharan’ (Krish
lifting Mount Govardhan) men, women and animals have been painted
large numbers.
19. Architecture : Palaces are domed, brickwork and marble both appe
in buildings. White lattice in mughal style is also noticed at places.
SALIENT FEATURES OF RAJASTHANI SCHOOL
L Diversity in themes e.g., scenes of any activity related to Religio
Social. Court hunting, Nayak and Nayaka Bheda, Season (Barahamast
Rag Ragini erc.
. a
The powerful and rhythmic lines ofthis school are from old tradition
3. Glowing colour in deep harmonious contrast
i. Variety of costumes of male and female of Raj i
c sjasthan region.
5. Inspired from Indian epics, devotional Poetry (Bhagti Sagar) Romant
poetry (Riti Kavya) and Indian music. '
6 Human faces are shown from different angles
7. Female figures are frequently painted. . 8
9
10.
Mostly faces are profile (side pose)
Classification of feminine charm in different modes and mood
Some large paintings and wall paintings are only at Kishangarh, Kota,
Bundi and Bikaner.
METHODS AND MATERIALS
‘All miniatures followed a similar process with a few differences pertaining
to the availability of material from a region to region. The steps may also have
tiferent names in Mughal and Rajput terminologies. The method can broadly
be described as follows :
10,
Sketching : Primary drawing is made with a light colour, a reddish brown
generally on paper called Wasli, It is just a structure skeleton at this
stage.
Khadiya or white pigment is applied to smoothen the paper surface and
to remove any discrepancies in drawing. The lines of sketch still show
from underneath.
The sketch is made darker over the lines previously drawn with better
details.
Colouring : Lighter shades are applied first to give a translucent effect.
For making colours, Gum is added to organic or inorganic pigment of
colour to improve its brilliance and hold. Several pigments are used to
obtain a desired shade. The three dimensional effect is achieved by two
methods of shading: the original colour is spread on the surface, then
darker colours are applied; or the shading pigment is gradually mixed
with the original pigment while still wet
Jewellery with powdered gold called Halkari or with gold leaves, Gold is
applied on yellow for better radiance
Burnishing (Ghotai) : The paper is placed face down on a smooth marble
surface and rubbed from the back with the help of Agate stone called
ghota, This is done so that all layers of colours and textures become
one. (This process was sometimes done after step two also to get a
smooth surface after the application of khadiya)
Finishing (Khilai) : Details at this stage are made with utmost care
Borders (Hashia or Patti) : Then beautiful hashiyas (borders) are made
Mounting ; After the painter has finished, the picture 1s passed on to
other artists for trimming or to the ‘wasligar’ for mounting
Writing above or behind the painting : The calligrapher or ‘naqshana
is asked to write part of the text or inscribe the name of the artist.
The colours used in painting could be divided into four main groups
or mineral colours, Vegetable colours, Oxide colours, and Metal colours.
Paint brush from squirrel tail or from soft fur of ears of calf, goat or donkey
NAME : MARU RAGINI (A)
ARTIST : SAHIBDIN
suBSCHOOL : MEWAR (Udaipur, Rajasthan)
PERIOD : 1628 C.E. (Under Jagat Singh I)
MEDIUM —:_ TEMPERA (Water Colour) ON PAPER
COLLECTION = THE NATIONAL MUSEUM. NEW DELHI
SUBJECT MATTER : Maru Ragini is a vertical painting from
Ragamala series. Theme of Dhola-Maru is combined with the Ragmala
theme in which Maru is shown as Raga Shri’s female partner.
"DESCRIPTION : In this vertical painting, the king with his queen is
riding on a camel.
Background is yellow but foreground is light green. Two male escorts
are running along the camel-riding couple. In the centre of yellow
| background and green foreground, a band of sky with blue colour has
| been shown, The camel has been shown with full enthusiasm. One
male attendant is leading the camel. A hunting dog is also running
ahead of the two escorts. The sky is deep blue. The dresses of all
the figures are in flat colour. Transparent white colour has been used
in the painting. Camel is well decorated. The king is holding a flower
in his right hand and looking at the queen. On the top of the painting
Maru Shri Ragini is written. The samvat means circa 1685 C.E. In
the painting facial expressions are shown with Rhythmic lines. The
colours are bright and natural, which tell the story of heroines and
heroes.
HUMAN VALUES :
1, Love and devotion of the royal couple for each other.
2. Loyalty of the attendants towards their master. They are
accompanying him to ensure his well-being. NAME : RAJA ANIRUDDHA SINGH HARA
‘ARTIST : UTKAL RAM /TULCHI RAM
MEDIUM : TEMPERA (water colour) ON PAPER
PERIOD : 1680 CE.
sUB-SCHOOL : BUNDI (Rajasthan)
COLLECTION : THE NATIONAL MUSEUM, NEW DELHI
SUBJECT MATTER : This art-work is a portrait of bravery. The
prince Raja Aniruddha Singh Hara is sitting on the back of a running
horse who is making a power show. It is an equestrian portrait of a
king, The Rajputs were very fond of their horses and together they
won many battles. This painting shows the king and his horse in action.
DESCRIPTION : This Rajput miniature from Bundi School of Art
(Rajasthan) is in decorative Mughal style. The prince, Aniruddha Singh
is seated on the back of fast running white horse, holding the horse's
reins in his left hand. He is holding a white flower in his right hand
close to his chest. The dress of prince is of transparent white, light
orange, coffee brown colours and orange pajama. The face of the
king is shown in profile.
The background is painted in deep Blue-Black. The entire composition
is based on the prince and his running horse. Figure is Ek-chasm
(single eye), two front legs of horse are uplifted and it is balancing on
its hind legs only. Prince’s cap and dress are well decorated
Transparent light, coffee colour and orange is used in his dress. The
tail of horse shows the fast speed of the running horse
HUMAN VALUES :
1. Sports as a source of recreation for a healthy and fulfilling life.
2. Love for animals and pets.
=aD= NAME : CHAUGAN PLAYERS
ARTIST DANA
MEDIUM TEMPERA (water colour) ON PAPER
PERIOD : 1819 C.E. (Under Maan Singh)
sUB-SCHOOL : JODHPUR (Rajasthan)
COLLECTION: THE NATIONAL MUSEUM, NEW DELHI
SUBJECT MATTER : Chaugan Players is a horizontal painting in
which two princesses are playing Polo with their four maids
DESCRIPTION : The princesses are sitting on the back of two
different horses in the upper section of the Painting and are facing
each other. While the other four horses in the lower section with the
s are running in opposite direction, but the faces of maids are on
| maic
the same side where princesses are looking. Figures have been perfected
against red, yellow, ultramarine and orange background All six Polo
sticks are covering the ball
All ladies have high rounded foreheads, faces are profile. The eyes
of ladies are elongated upto their temple. Their skirts are spread on
the horses back like bells in a stylised manner:
The composition is against a flat green background. Colours are very
bright. A light green landscape shows harmonious contrast to the
painting. All the dresses are in contemporary Rajput constumes and
well ornamented.
HUMAN VALUES :
1, Sports as a source of recreation for a healthy and fulfilling life.
2. Teamwork towards a common goal.
3. Develop a sense of healthy competition to get better in all fields.
4. Camaraderie (Spirit of friendship).
-