miniatureschoolch-1ppt-220613073500-e059a0c1.pptx

miniature PAINTING

1. Introduction to Indian Miniature Schools CBSE ( Unit - 1 & 2 ) Srikanta Goswami 1

2. Miniature Schools Manuscript Painting 2 Contents Six limbs of Art

3. Miniature ? The word miniature, derived from the Latin verb miniare ("to colour with minimum," a red lead) indicates a small illustration used to decorate an ancient or medieval illuminated manuscript. 3 Miniature Painting Small size & Minute details Palm leafs(Taal- Patra) Any medium and on any surface Handmade paper Leather

4. Manuscript Manu Script Hand written A large section of painting illustration A pictorial translation of poetic verses Inscribed and painted on prepared palm -leaves Bound with cords passing through holes in the folios The folios are encased in wooden cover Documentation, Human activities 4

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6. 6 Indian Miniature Schools Pala School (7th-9th Cen.) Jain /Western School Central Indian School

7. 7 Bengal, Bihar Orissa. 750 A.D. to middle of the 12th century. Nalanda & Vikramshila monasteries were great renters of Buddhist learning. The technique & material used were inspired from Ajanta style. Mostly used palm leaves and Mineral colours can be seen. Patronage by Pala Kings, Dharam Pal, Dev pal. Sava Chasma faces, curvy black outlines, bright colours, simple composition and graceful figures. Pala School A fine example of a typical Buddhist palm -leaf manuscript illustrated in Pala style is Astasahasrika Prajnaparamita (the perfection of wisdom in eight thousand lines)

8. 8 Jain School Western Indian school Protruding eyes & The flying drapery attire is prominent Colour implementation is clear, white, gold & dark colours are used. The paintings were done in cloth & later on paper as well. Figures are flat with angularity and sharpness Kalpasutra Kalakcharya Katha Sangrahini Sutra

9. Kalpasutra Kalakcharya Katha Sangrahani Sutra The Kalpa Sūtra is a Jain text containing the biographies of the Jain Tirthankaras, notably Parshvanatha and Mahavira. Traditionally ascribed to Bhadrabahu, which would place it in the 4th century BCE, it was probably put in writing 980 or 993 years after the Nirvana of Mahavira. Kalakacaryakatha , a noncanonical work of the Shvetambara (“White-robed”) sect of Jainism, a religion of India. The Kalaka (or Kalakacarya ) cycle of legends first appeared in the 12th century ce or earlier, and versions have been recorded in Sanskrit, Prakrit, Apabhramsha , Gujarati, and other south Asian languages. The Sangrahanisutra is a cosmological text composed in 1136 by Shrichandra that includes Jain ideas about the structure of the universe and the mapping of space. The manuscript, made in the eighteenth century, includes illustrations and cosmic diagrams. .

10. Central India School It is a mixture of many styles. Flourished between 11th to 16th century A.D. Jain manuscript paintings from Gujrat, Muslim paintings from Jaunpur, Oudh from the East, Rajasthani from the North and Deccani from south. Initial phase of the manuscript started on 11th -12th century in Mandu ( in Malwa region of Madhya Pradesh) Being in central India, Mandu was influenced by art form of all directions. Bulging out eyes, pointed nose, double chin, Bright basic colours, folk elements and other feathers of Malwa miniature 10

11. 1. Manuscript 2. Pala School 3. Central India School 4.The perfection of wisdom in 80000 lines A. Astasarshika Pranjaparamita B. Mixture of many styles C. The earliest miniature painting D. Palm Leave 11

12. A. Charupanchasika B. Laura Chanda C. Astasaharshika Pranjaparamita D. Sangrani Sutra 12 Which of the following is an example of a palm leaf manuscript that means the “Perfection of Wisdom” in written in eight thousand lines?

13. A. Hinduism and Christianity B. Buddhism and Jainism C. Hinduism and Buddhism D. Jainism and Islam 13 On which two religious were manuscript of Pala school and Western school based?

14. A. Rajput Painting B. The Book of Ritual C. Different form of miniature D. A folk lores 14 What is Kalpasutra?

15. Six Limbs of Art Shadanga Roopa bhedah pramanani I bhava- lavanya-yojanam ii Sadrishyam varnakabhangam I iti chitram shadakam ii  

16. Six Limbs of Art Roopabheda Form Pramanani Proportion Bhava Expression Lavanya Gracefullness Sadrishya Similarity Varnika Bhangha Various Colours 16

17. Roop Bheda The knowledge of looks and appearances ‘Roopa’ means the outer form or appearance of the subject. The perception is visual as well as mental. ‘Bheda, on the other hand, means difference. In other words, to create a painting, an artist needs to have a sound knowledge about the different forms that exist. 17

18. Pramanani Accuracy and precision of measurement and structure Pramanani teaches us the exact measure, proportion and distance of the subjects. It provides an insight into the structural anatomy of objects, too. 18

19. Bhava The feelings on Form “Bhava” means an emotion, a feeling, an intention, or an idea. This aspect of art is depicted in the form of feelings expressed by the subject.  19

20. Lavanya Yojanam Blending grace in a artistic representation Your painting should be gracefully high in its artistic quality. The Pramanani is for stringent proportions, and Bhava  is for expressing movement. But, This is for controlling the over-expression of both. The motive is to bring about a sense of beauty in a dignified and organised manner. 20

21. Sadrishyam Similarities in between real and the creation Sadrishya suggest the degree to which a depiction is similar to an artist’s vision or subject itself. In a way, it is also a way of depicting similitude. It enhance the character of any individual and him/her complete in itself 21

22. Varnika Bhanga An artistic way of making use of the brush & Colours Varnika :- Varna- Colour Bhangam:- to break The knowledge of the artist about the different colours. Indeed, you will tremble, or only end up applying meaningless strokes on your canvas until you have learnt how to use the brush right. While all the above five principles can be mastered simply via perception, you can never learn Varnikabhangam without some real, hands-on practice. 22

23. Conclusion The Sadanga is an inevitable part of every great Indian masterpiece. From the ancient paintings of Ajanta, Modern paintings created by Raja Ravi Verma, and Hussain of today, you will observe that every notable artist has silently put to use all the six principles . And, it is only when you have known inside out, However, there are no definite rules; neither an artist should follow any certain rules. these prime principles are presented just like guidance. 23 Thank you