Short Answer Questions (50-100 words)

Q.1 Wwhat are flat colours in a painting?

Ans. Flat colours in a painting means no tonal shading of colours has been applied in a painting. So, the
colours used are plain and flat. They have no depth. So, they provide a 2-dimensional effect.

Q.2 Define miniature painting.

Ans. The word 'miniature' means very small. So, miniature painting means small painting. If a painting has
been depicted in small size in any media and on any surface, it is known as miniature painting.

Q.3 Right short note on 'Ek-Chashm', 'Do Chashm', 'Ded- Chasm', and 'Sava-Chashm face

Ans. In Ek-Chashm face, only a single eye is visible. It will be a face in side pose (profile face).

In Do-Chasm face, both (two) eyes are visible. It will be a front face.

In Ded-Chashm face, one and a half eyes are visible. It will be a three of a quarter face.

It Sava-chashm faces, one full eye and other half of the half eye are visible. It will be a lesser than a
three of a quarter face.

Q. 4 Why do we call Rajasthani art as Rajput art?

Ans. We call Rajasthani Art as Rajput art because the Rajasthani art was developed under the Rajput
Kings.

Q.5. Why did the Rajasthani school of Art florist first in Mewar?

Ans. Rajasthani School of Art flourished first in Mewar because during the attack of Mughals, the whole
Rajasthan was affected but Mewar remined safe till the end.

Q.5 What was the theme depicted in Nathdwara paintings?

Ans. Nathdwara paintings mostly depicted love scenes of Radha and Krishna. (Back curtain) paintings
from Kishangarh which were very large. These paintings portray Hindu God Shri Krishna (shown in
different moods) and were done on cloth for the diety Shrinathji (Shrinathji was the presiding deity
worshipped at the Srinath Ji Temple and he was the old form of lord Krishna) for various festive
occasions, also belonged to Nathdwara tradition. Nathdwara is a town in Rajasthan and is close to
Udaipur. Nathdwara emerged in the late 17th century A.D.

Q. 6 Which colours were used in Rajasthani paintings?

Ans. Red, yellow, blue (primary colours), brown, green and white colours were mostly used in Rajasthani
paintings. In some paintings, gold and silver colour were also used.

Q. 7 What is 'Pishwai'?

Ans. 'Pichwai' means 'back curtain'. The Kishangarh paintings are largest amongst all the Rajasthani
paintings. So, they are known as 'Pichwai' which acts as the background.

Q.8 Evaluate the compositional arrangement of the painting 'Maru Ragini' (Rajasthani School) painted in
1628 A.D. duly based on the aesthetic- parameters vriefly.

Ans. 'Maru Ragini' is a vertically composed painting by the artist Sahibdin in the medium tempera (water
colour) on paper. The main figures the king and queen have been shown in the centre of the painting
riding on a camel with their escorts. It is a Baramasa painting from Ragamala series. The quality of
aesthic- grandeur has been depicted according to the aesthetic parameters very beautifully. The king
is holding a flower in the right hand and looking at the queen. At the top of the printing 'Maru Shri
Ragini' is written. Two male escorts are running along the camel and one male attendant is leading
 the camel. A dog is running ahead the two escorts. Sky is deep blue, background is yellow and
foreground is light green. So, the whole composition is well composed and well balanced.

Q.9 Describe the main characteristics or features of Rajasthani School of miniature painting?

Ans. Following are the main characteristics or features of Rajasthani School of miniature painting:

1. Variety in Themes:

There is a great variety in themes of Rajasthani paintings. Themes are based on seasons
(Barahmasa), music, hunting scenes, religious themes like Ramayana, Mahabharata etc., love
scenes, ragamala series etc. In love scenes, Krishna and Radha have been depicted.

2. Colour Scheme:

The main colours used are the primary colours (red, blue and yellow), green, brown and white.
Other colours in use are golden and silver. The background colour is sometimes flat also. The
red or golden coloured borders were also made around the paintings which had an influence
from Mughals.

3. Costumes, Garments and Ornaments:

Females are wearing Lehenga and Choli with “transparent dupatta”. Males are wearing
turbans and Jhabba (a group of threads), pyjama and patka. Diamond and pearl-studded
jewellery was there comprised of earrings, rings, armlets, bangles, elaborate forehead
adornments and necklaces etc.

4. Facial Features:

Faces are full of emotions and feelings according to the mood. The faces are in profile (side
pose). The faces are elongated and oval, while the forehead is inclining downwards. Long and
pointed nose, swelling out lips and pointed chin have been depicted.

5. Depiction of Women:

The women of Kishangarh School are very Impressive. For example, 'Bani Thani' of
Kishangarh School which is a world fame painting. Limbs (arms) of women are thin. Then
figures, slim and flexible bodies, lotus eyes, bow-shaped eyebrows have been depicted.

6. Linear Beauty:

Linear beauty is the beauty of lines. The lines are very fine, soft, powerful and rhythmic.

7. Depiction of Nature:

Nature has also been depicted very beautifully. Different types of trees, floral trees, mountains,
water springs and lakes have been shown in a very attractive manner.

8. Night Scenes:

Night scenes have been painted in a very attractive way. Dusky gray (smoke gray) and black
sky show a beautiful contrast to the white and yellowish golden coloured or white coloured
moon and stars in Rajasthani paintings.

9. Hunting Scenes:

As Mughal artists used to draw hunting scenes in large number according to the taste of the
kings, the depiction of birds and animals being hunted was shown in the paintings. So
Rajasthani artists also painted hunting scenes which were inspired from Mughal School.
 10. Crowded Scenes:

Crowded scenes have been depicted beautifully. For example, painting “Bharat meets Rama
at Chitrakuta” etc.

11. Architecture:

The palaces with domes, brick work etc. have been depicted in buildings very beautifully.

12. Symbolism:

In the main theme of Radha-Krishna, Radha has been symbolized as Soul and Krishna as
God.

13. 2-Dimensional Paintings:

Flat colours have been used in figures and sometimes in background as in the paintings “Raja
Aniruddha Singh Hara”, “Radha (Bani Thani)” etc.

There is no importance of perspective as well as horizon line in Rajasthani paintings, but even
then they look attractive.

Q.10 Write an essay on the origin and development of Rajasthani School of miniature painting.

Or

How did the Rajasthani School come into existence?

Or

Write a note on the Rajasthani School of miniature painting.

Or

Throw light on the origin and development of Rajasthani School of miniature painting and the aesthetic
qualities practiced by its sub-schools.

Ans: The time period of Rajasthani School of miniature painting, also known as Rajput School or Hindu
School of Art, is 16th to 19th century A.D. Scholar Ananda Coomaraswamy in 1916 A.D. coined the
term ‘Rajput Paintings’. Rajasthani School was a continuation of old Indian tradition. This art was
developed under the Rajput kings. In the beginning, this school had Mughal influence, but later it was
established as a purely Indian art having no Mughal influence. Rajasthani School did not originate as
miniature, but it was primarily a mural art. The sub-schools of Rajasthani School were Mewar, Malwa,
Bundi, Bikaner, Kishangarh, Kotah, Jodhpur, Jaipur, Ajmer etc.

When Muslim rulers captured the central region (Central India), artists took shelter at Mewar in
Rajasthan just as when the Mughal emperor Aurangzeb threw out all the artists and they shifted to
Pahari region and some to the Deccan, and Rajasthani School was originated. Then during the attack
of Mughals on Rajasthan, the whole Rajasthan was affected but Mewar remained safe till the end.
So, Rajasthani School flourished first in Mewar. Later, it flourished in Jaipur, Jodhpur, Bundi,
Kishangarh, Bikaner and other places of Rajasthan. Kishan Singh ruled at Kishangarh. He was the
eighth son of Raja Udai Singh of Jodhpur. After Kishan Singh, Raja Raj Singh, the father of Raja
Sawant Singh, ruled Kishangarh and art reached its climax. Raja Sawant Singh was also a very
famous king of Kishangarh. Rajasthan was a place of ‘Rajas’ (kings) or place of ‘States’ (Rajya’s).
That’s why it was known as Rajasthan. Kishangarh paintings are very famous even today as if we
want to show a typical Rajasthani painting to anybody, then only a Kishangarh painting is enough to
prove the identity of a Rajasthani painting. For example, ‘Radha (Bani-Thani)’ of Kishangarh School
is a world fame painting whose postal stamp was issued by the Indian Government.
 Rajasthani Art had purely Hindu feelings and had Indian sensibility. The main theme of Rajasthani
paintings was based on Krishna and Radha where Krishna has been shown as the divine soul, while
Radha as the human soul. So, Krishna is God and Radha is devotee.

Q.11 How far is the painter successful in depicting the subject matter of the Rajasthani miniature painting
‘Maru Ragini’ painted in 1628 A.D.?

Or

How far has the painter been successful in depicting the subject matter of the Rajasthani miniature
painting ‘Maru Ragini’ (Mewar Sub-School) painted in 1628 A.D.? Give your appropriate reasons
based on the aesthetical parameters.

Or

Evaluate the aesthetic-grandeur of the Rajasthani miniature painting ‘Maru Ragini’ painted in 1628
A.D. duly based on the aesthetic parameters.

Ans. The painter is successful in depicting the subject matter of the Rajasthani miniature painting ‘Maru
Ragini’ and he seems to be justified as the subject of this painting is about the king and queen who
are riding on a camel with their escorts. ‘Maru Ragini’ is a painting from Ragamala series painted by
Sahibdin. This painting is based on the famous love story of Dhola-Maru which is very popular in
Rajasthan. Dhola (king) is the male lover, while Maru (queen) is the female lover. According to this
love story, Omar Sumra who was the villain of the story is chasing Dhola-Maru, so that is why they
are shown sitting on a camel in the painting. The quality of aesthetic-grandeur has been depicted
according to the aesthetical-parameters very beautifully. The king is holding a flower in the right hand.
He is looking at the queen. At the top of the painting, ‘Maru Shri Ragini’ is written at the top left corner
and according to the word ‘samvat’ in the second line of the inscription, the painting belongs to 1665
century A.D. It is a Barah Masa painting. The facial expressions have been depicted beautifully with
the help of rhythmic lines and bright colours which seem to be natural. Two male escorts are running
along the camel and one male attendant is leading the camel. A dog is running ahead the two escorts.
Sky is deep blue, background is yellow and foreground is light green. So it is a vertical painting whose
theme can be easily understood and aesthetically, it is a very beautiful painting.

Q.12 Write a short note on the compositional arrangements of the Rajasthani miniature painting.

Ans. The compositional arrangements of the Rajasthani miniature paintings have been depicted beautifully.
Everything is well composed and well balanced in Rajasthani paintings.

Amongst the paintings from Rajasthani School, Kishangarh paintings are larger in size known as
‘Pichwayi’ which means ‘Back Curtain’. Such backgrounds were used for plays. Crowdy scenes have
also been shown, for example: ‘Krishna lifting Mount Govardhan’. Nature has been depicted
beautifully. Different types of trees, mountains,Water springs, lakes etc. have been depicted. In night
scenes, moon and stars have been painted in white colour. The colour scheme and rhythmic lines are
very attractive.

‘Maru Ragini’ of Mewar School painted in 1628 A.D. is a ‘Vertical Painting’. It is a balanced
composition. Proper horizon has been shown. The king, queen, two escorts, one attendant and a dog
are well composed. Lines and colours have rhythm.

‘Chaugan Players’ of Jodhpur School is a ‘Horizontal Painting’. Six ladies (two princesses and four
maids) are sitting on six horses and have been arranged according to a semi-circle. Two princesses
are facing each other and four maids (two on each side) are also facing each other. They all are
playing Polo. Six Polo sticks are covering the ball in the centre. The composition is well balanced and
composed. Lines and colours are rhythmic.

Many other paintings like ‘Bharat Meets Rama at Chitrakuta’, ‘Krishna on the Swing’ etc. are also very
well composed and balanced.
Q. 13 Write a short note on the Rajasthani painting ‘Chaugan Players’.

Ans. The Rajasthani painting ‘Chaugan Players’ belongs to Jodhpur (sub-school). Its artist is Dana and the
Tempera medium (water colour) has been used. Its time period is 1819 A.D. (C.E.). Though on paper,
it depicts two princesses and their four maids playing Polo for their amusement and all are sitting on
the horses by spreading their skirts on the horses, back like bell shaped flames. Their faces are in
profile. Costumes and jewellery belong to contemporary Rajput style. It is a horizontal painting with a
flat light green background. Six polo sticks of all ladies are covering the ball which is in the centre of
the painting. Faces of princesses and their horses are facing each other, while the faces of the horses
of maids are opposing each other and the faces of maids are facing each other. Bright colours have
been used. The eyes of ladies are elongated up to the temple of their hair. As during the 19th century
A.D., India was a male dominant society, but the artist of this painting, Dana showed women
empowerment, their versatile personality and showcased them overcoming the traditional norms. In
this painting valour has been shown as India being the male dominant society, the women have been
shown playing ‘Polo’ and they are overcoming the traditional norms. So, by going against the male
dominant society, women are depicting the quality of valour and this bold step taken by Indian women
against the male dominant society is an inspiration for 20th century women also. This painting still
helps in broadening the mindset of our society. The subject-matter matches the title. On viewing the
painting, the theme seems to be justified.

Q.14 Which human life values are expressed in the miniature painting 'Bharat meets Rama at Chitrakuta'
(Rajasthani School)?

Or

'Raghukul Reeti Sada Chali Aayi, Praan Jai Par Vachan Na Jai'.

Which miniature painting from Rajasthani School showcasing strong bond of brotherhood between
Rama and Bharat, re-lives this saying and how has the artist helped us in elevating our state of life
by imbibing these virtues and family values?

Give an example through an episode from the present day scenario which will help our future
generation in character building.

Ans. The Rajasthani miniature painting 'Bharat meets Rama at Chitrakuta' belongs to Jaipur sub-school.
The Jaipur School of painting originated in its former capital Amer. Jaipur paintings were preserved in
"Surat Khana' and they reached its climax during the rule of King Sawai Jai Singh. This painting was
painted during 18th century A.D. by the artist Guman. The theme in this painting has been taken from
'Ramayana'. Here, Rama's brother Bharat has come to meet Rama alongwith his three mothers and
Guru Vaishishtha.

In this painting, human life values have been expressed very beautifully Here, Rama has been shown
in different postures like bowing downwards for touching the feet of Guru Vaishishtha, folding his
hands infront of Guru Vaishishtha etc. The feeling of respect has been depicted through this painting
in the form of the respect of sons for their mothers, the respect of disciples for their 'Guru' (teacher),
the respect of younger brothers for their elder brother (Rama) and vice-versa etc. Strong bond of
brotherhood between Rama and Bharat has been depicted very efficiently. The importance of human
life values can be seen in full form in this painting. One should be aware of these human life values
as the lack of these human life values can destroy the society. So, human life values can also be
considered as a part of the subject matter of the painting or this can also be another theme of this
painting and these virtues and family values are beautifully shown. In present-day scenario, we can
give the example of TV serials where the importance of family values are shown. Many such family
serials convey the moral message of brotherhood which helps our future generation in character
building.

We can also give an example of our own family which if being a joint family is living as a happy family.
Q.15 Write a short note on the painting 'Krishna on Swing' (1683 A.D.) based on the following points:

(1) Title

(2) Name of Artist and Sub-school

(3) Subject matter

(4) Medium and Technique

(5) Composition.

Or

Appreciate any one Rajasthani miniature painting included in your course of study based on the
following points:

(1) Title and name of the painter

(2) Medium and technique

(3) Subject-matter

(4) Composition.

Or

How far is the painter successful in depicting the subject matter of the Rajasthani painting 'Krishna on
Swing'?

Or

The artist from Rajasthani school of miniature painting has ingeniously divided the painting into two
parts representing Rasikpriya poetry of Keshavdas in which Radha is offended by the behaviour of
Krishna. Identify any painting included in your syllabus which has the above characteristics. Then
interpret this painting on the basis of the following points:

(1) Title of the painting and name of its painter.

(2) Medium and sub-school.

(3) Theme (subject matter) and compositional arrangement of the painting.

Ans. All the paintings from Rajasthani School are worth appreciable because all have different qualities for
being appreciated. But the painting 'Krishna on Swing' (1683 A.D.) which I am going to appreciate
has some special appeal and 'Krishna on Swing' is a very beautiful painting. Following is its detail
based on the following points:

(1) Title: The title of this painting matches the theme of the painting to some extent as Krishna
has been shown twice once on a swing and secondly under a tree. So, the title doesn't seem
to be fully justified but to some extent after observing this painting. But if we go through the
subject matter properly, the main story is that instead of Radha, it is some other gopi who
accompanies Krishna while swinging as Krishna takes the gopi for swinging with him. So,
Radha feels jealous and offended and starts weeping. So, the basic theme is based on
swinging. So, we may feel that title is justified.

(2) Name of Artist and sub-school: The artist of this painting 'Nuruddin' was an artist in Raja Anup
Singh's court at Bikaner. The painting belongs to the sub-school Bikaner from Rajasthani
School of Art.
(3) Subject matter: The subject matter of this painting has been taken from the poetry of
Keshvadasa namely 'Rasikpriya'. Female jealousy has been depicted in the painting. The
painting is divided into two episodes. In the upper portion, both Krishna and Radha are looking
at each other. Krishna is sitting on a swing, while Radha is sitting in the porch or on terrace.
The ego on both sides is an obstacle in the way of union.

In lower portion, the second episode is depicting both Krishna and Radha sitting under two
separate trees. Both's faces are depicting grief and pain. Suddenly, a gopi comes to Krishna
and prays him to go to Radha and calm down Radha who is like a bud, if she is crushed she
will lose her charm forever, she will decline if she will go on weeping. Gopi's hand movements
depict that she is reminding Krishna about his love for Radha.

(4) Medium and Technique: The medium used in this painting is Tempera (water colour) on paper.
In this technique, any type of glue is mixed with coloured powder. Glue can be of any type.
Fresh egg yolk can also be used. After this mixture, water is also added. In light, the whole
mixture dries quickly.

(5) Composition: It is a vertical composition. The composition is well balanced and composed.
There are two episodes as mentioned above. All objects of this composition like swing, porch
or terrace, trees, figures etc. are balanced. Colours are rhythmic and harmonious. So, the
rules and regulations of a balanced composition have been obeyed in this painting properly.