Rajasthan miniature painting.. (1)

This mind map is a graphical way to represent ideas and concepts of Rajasthani school of miniature Painting.It is a visual thinking tool that helps structuring information, helping you to better analyze, comprehend, synthesize, recall and generate new ideas.

1. RAJASTHANI MINIATURE PAINTING Srikanta Goswami

2. Later half of 16 th Century – 19 th Century Rajasthan, Bundelkhand , punjab region of Himalayas Rajasthan Bundelkhand P unjab

3. Factors influencing Rajasthani Miniature Painting Economic Prosperity Revival of Vaishnavism

4. Factors contributing in Rajasthani Miniature painting Rajasthani Miniature painting Western Painting Jain Manuscript painting Gujarat style Mughal Miniature Painting

5. Topics of Rajasthan Miniature Painting Nayak Nayika bheda (classification of heros and heroines Folk lores Ballads ( dhola-maru , Sohni-Mahinwal , Laur-chanda potraits Court scene Daily activities Musical concerts

6. Division of Rajput miniature painting Rajput Miniature Painting Rajasthani school of Miniature Pahari school of Miniature

7. Components / Features Bold outline Brilliant color Harmonious pattern Symbolic expression Multiple aesthetic sentiment of Indian Life Daily activities Sudden flash of emotional thoughts Clear & simple composition Musical representation Religious representation No perspective Figures are in same dimension Flat colours

8. CHAUGAN PLAYERS JODHPUR MARU-RAGINI MEWAR

9. Rajasthani Miniature M ewar Bundi Jodhpur Bikaner Kishangarh Jaipur

10. M ewar “ Supasanachariyam ” & “ Suparsanatham ” Oldest manuscript 1423 A.D Apabhransa style “ Ragamala ” series by Rana Pratap Real beginning of Mewar painting 1571 A.D Main topic “Krishna Bhakti Cult” Two artist Sahibdin & Manohar Other topics: Ragamala , Nayika Bheda , Bhagavat puran , Ramayana, social and cultural life, daily life and so Representation of Ragas through Nayak-Nayika Fall of Mandu 1570 Artist fled to Mewar

11. Features of Mewar school Main topic “Krishna Bhakti Cult” Other topics: Village scene, court scene, marriage procession, song and dance Battle scene Bright and brilliant colours Long nose Oval face Elongated fish like eye Male garment: Loose fitting, turban Female garment: Long skirt, choli , transparent odhnis . Male figures are larger than female Ornamental trees Flowers in bunches Hills and mountains persian style Water waves in basket pattern No perspective Sapce division by colour

12. MARU-RAGINI WATER COLOR AND TEMPERA ON HAND MADE PAPER Painted by Sahibdin King and queen riding camel Yellow desert background King & queen wearing ornamental dress Decorative camel dress Foreground green wash Three male escorts Hunting dog Deep blue sky suggesting night Dresses are transparent

13. Bundi Ruled by Hara Dynasty Till 1625 A.D Bundi & Kotah were unified. Latter divided by Mughal s Paintings Similar to Mewar school Scattered Ragamala series 1625-40 A.D e.g. Bhairav Ragini Illustration of Bhagavat Puran 1640 A.D By the end of 17 th century Bundi style went further change. Beautiful representation of elephant e.g. Summer Elephant. Favourite topics: Ragamala , Baramasa , Rashikpriya . Depicting Krishna was another favourite topics e.g. Hours of cow dust

14. Features of Bundi School Human figures similar to mewar Expression differs Small round face Shade near cheeks Eyes and nose add charm and emotion to face Landscape depiction Thick jungle River and lotus pond and lake with water bird Peculiarity of Bundi Painting: Minar on one corner Favourite topics: Ragamala , Baramasa , Rashikpriya .

15. SUMMER ELEPHANT WATER COLOUR AND TEMPERA ON HANDMADE PAPER Beautiful representation of elephant Warm colours (red, yellow) Fluid lines Representation of two elephants one in red and one in yellow The elephants possesses 4 wings They are showering water over Laxmi Laxmi is shown sitting over a lotus Laxmi possesses four hands Laxmi is in Ghagra Choli or traditional rajasthani dress She is weraing a golden crown with flowers She also holds lotus in her right upper arm She is washing her hair with right lower arm and left upper arm Representation of halo behind her head Representation of lotus pond in the front Two winged elephants are taking bath in the pond Stylized representation of the entire composition Ornamentive decoration is shown in the elephants

16. HOUR OF COW DUST WATER COLOUR AND TEMPERA ON HAND MADE PAPER Krishna is driving cattle back to home Gopis are waiting for him in the balcony The painting is so vivid that one can almost hear the twinkling of the bells and stamping of the feet Krishna is shown sporting white garland flower and she is playing flute Lot of activities is shown in the composition Represesntation of various expressions and gestures Realistic representation of the figures and animals Contemporary rajput architecture Space division is done through architecture Representation of the vegetation in the distanct horizon

17. jodhpur Largest state of Rajasthan Founded in 1459 A.D. Established by the Rathores 15 th & 16 th century jaina style of painting followed End of 16 th century Mughal style infiltrates Akbar marriage with Jodhabai During the time of Bijay Singh true Jodhpur style evolve. Though Mughal influence remains Raja Man Singh’s time golden period in jodhpur painting style Topics: “Krishna- lila ”, “ Shivpuran ”, “ Nalacharita ”, “ Durgacharita ”, “ panchatantra ” 121 paintings on “ D hola-Marvani ” ballad 1820 A.D Jodhpur paintings are little larger than the other painting Painings of nature are symbolic and poetic

18. Features of Jodhpur School Female figures are tall Hair tied up in high knot High forehead Heads are smaller comparison to the body Eyes are stretched till ears Sharp nose Slim waist Breasts and buttocks are heavy Long legs Spectacular moustache and side burn Painting size are little bigger Female figures are smaller than male figures Large, white pavilions Twisted cloud in the sky Back-ground: Dense tree groves

19. CHAUGAN PLAYER WATER COLOUR AND TEMPERA ON HAND MADE PAPER A group playing polo All having polo stick in hand Two princesses charging at each other Their lady companion on horse back Upper body twisted to face the ball Rajput costume Little cluster of flower and foliage in stylised manner Skirts spreads in bell like fasion Hair tied in top knot Opposite direction movement lent speed & movement

20. Bikaner Developed by 17 th century Under Raja Raj Singh Manuscript of Meeghdoot Appabhransha style Later Mughal sovereignty Artists fom Aurangzebs court fled here Ustad Hamid Ruknuddin master artist Ruknuddin’s son Sahibdin another artist Sahibdin’s famous painting “Krishna Supporting Mount Govarhan ” By late 18 th Century Bikaner adopt late Jodhpur style Both miniature and wall painting found in Bikaner Wall paintings in the gate of ‘Chandra Mahal ’ and ‘ Sujan mahal ’ and in decoration of ‘ Anoop Mahal ’ and ‘ Phool Mahal ’

21. Features of Bikaner School Main topic: Ramayana, Mahabharata, Krishna legend, Ragmala , love scenes of Radha and Krishna Tight lips Half open eyes Small chin Thin wrist Under-developed chest compared to other miniature Moustache downward bent Decorated Ghagra with Diagonal stripes Circular style cloud Beautiful depiction of hunting scene

22. KRISHNA ON SWING WATER COLOUR AND TEMPERA ON HANDMADE PARER Two panels two different scene First panel: krishna on swing on left side of the composition Tiara on head White flower garland on neck Dupatta hanging from shoulder Orange colour dhoti Blue body colour highlighted Hexagonal swing with ornamental border Radha sitting on balcony in front Wearing traditionla & decorated Ghagra-Choli Head covered with Odhni She is sitting on red carpet Pillow supporting both their back Radha and Krishna sitting in two different place under tree Attendant of radha bringing message to Krishna White flower garland and dupatta on neck yellow colour dhoti Both Radha Krishna sitting on red carpet supported by pillow Radha wearing yellow Ghagra Choli Attendant wearing Stripped Ghagra Choli in purpe colour Trees and mount in the back ground Detailed leaves in cluster & repetitive pattern Tonal variation All the figures are in profile Sophisticated and modern architecture Bright colours Elegant lines

23. Kishangarh Established by Kishan Singh 1609 A.D Small state surrounded by Jodhpur, Jaipur, Shahpur & Ajmer Reached to Zenith during the time of Raja Sawant Singh because of superb painting He was a scholar, critic poet and well versed in Hindi Though devotee of Krishna he loved ‘ Bani-Thani ’ a maid in stepmother’s household He worshipped her as Radha and she also remains with him through-out life Nihalchand was the chief artist Nihalchand created Bani-Thani as Radha and Raja Sawant Singh Topics of painting: Hunting scene, court scene, potraits of king, Nawabs , Saints Romantic life of Radha Krishna, stories of Bhagavat Puran , scenes from Bihari Chandrika , nayak-nayika Bheda Nayak mostly Krishna and Nayika Radhika

24. Features of Kishangarh School Topics of painting: Hunting scene, court scene, potraits of king, Nawabs , Saints Romantic life of Radha Krishna fron Geet-Govinda , stories of Bhagavat Puran , scenes from Bihari Chandrika , nayak-nayika Bheda Female figures slim, flexible and tall Long face High, sloping fore-head Long pointed nose Bulging and well-cut lips Long chins Long drawn eye like khanjan pakshi (wagtail) Bow like eyebrows Long neck Long fingers Hair lock near ear Usage of primary colours Sky horizon replaced by creepers and foliage Emotional aspects depicted Gold and silver colour usage

25. RADHA (BANI-THANI) WATER COLOUR AND TEMPERA ON PAPER The most well known painting of Kishangarh Artist Nihalchand Elongated face Receding forehead Sharp pointed nose Long chin slightly pink tinted Wagtail eye ( khanjan pakshi ) Reflecting typical feminine beauty Arch like eyebrow Thin red lips Long black hair flows don from shoulder to waist Hair lock on cheek Long tapering fingers Left hand holding two lotus bud Right hand delicately holding odhni Palm slightly tinged with red Golden motif on odhni Dress and costume reflects contemporary Rajput Royalty Odhni transparent to reflect her marble white skin Dark blue background Enigmatic smile Compared to Monalisa Postal stamp issued by Govt. of India Best paiting of Rajasthan

26. Jaipur Founded by Sawai Jai Singh 1693-1743 He built Amber Palace Greatly influenced early Mughal architecture at Fatehpur Sikri and Agra Painting the Mughal style influenced the Jaipur School Jaipur painting school reached its peak during the time of Maharana Pratap upto 1780 During Rana Pratap’s time Mughal influence thrown off and genuine Jaipur style emerged Raga Ragini , Krishna themes, R amayana, Mahabharata, potraits , Musical concerts, court scene were main topics Over 50 artists work under him After Rana Pratap , Rana Ram singh again bring back the Mughal style The impact of Jaipur school can be seen in the surrounding states Ahibram , Lal Chitara are two artists

27. Features of Jaipur School The graceful use of colours and lines Expression of emotion Different postures Women face are round Medium size figures Eyes large, elongated, upward curve in women Male figure robust body Round nose in male Hair reaching up to ears Men wear: Loose pyjama , turban with diamond Women wear Ghagra of dark colour Paintings have ornamented borders Proper usage of light and shade Initially influenced from Mughal Miniature Later Rajasthani style predominate

28. BHARAT MEETS RAMA AT CHITRAKUT WATER COLOUR AND TEMPERA ON HANDMAD PAPER ARTIST - GUMAN Scene from Ramayan Total 49 figures Depiction of the drama of taking back R ama to A yodha 1. Rama listen to Vishwamitra about his father’s death and felt unconscious 2. Rama ask for forgiveness to the sage for weakness shown 3. In the middle rama meets his mother accompanied by laxman and sita 4. Rama embraces Kaushalya but refuses to go home 5. Rama touches the feet of Kaikeyee begging her forgiveness 6. Sita on the right hand corner declares her will to follow her path to follow her husbands path 7. Right hand corner Rama, Sita , Laxman bidding good bye to Bharat Satrughna , Viswamitra and their mother Rama’s cottage in the right hand corner Bunch of Banana groves behind the cottage Profusion of green in the painting back-ground Representation of Sarayu river in the front with lotus Green, Blue Yellow & white profusely used

29. Method and Material of Painting Papers were used from 14 th Century Paper dipped in solvent of alum and Ivory was used to polish the paper Thin layers of paper glued to make it hard like pasteboard Paint brush were from ears of calf, goat, donkey or squirrel tail The fur put at the base of the feather and sealed with wax to form the brush Primary sketch was done with light colour Next the lines were given prominence by filling up the body of the paininting with white paint The outline was given with brown or black The paint was applied flat with-out any shade Finishing touch applied on the outline Mounting was done by ‘ Wasilgarh ’ The writing above and behind was done by ‘ Khasnabis ’ Ink was made by Juice of ‘ Amla ’ & ‘ Haritaki ’ Colours were appliedin small strokes Lastly polish was given with ‘ Aqiq ’ or polished stone slab A layer of lac Varnish was applied on the backside to maike the painting hard and last long

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