PAINTING

(049)
HISTORY OF INDIA ART
FOR
CLASS –XII

MANOJ KUMAR
PGT FINE ART’S
JP ACADEMY MEERUT
MOB. :
 UNIT -1
(The Rajasthani andPahari School of Miniature Paintings)

(A) The Rajasthani School

➢ Origin and Development
➢ Characterstics
➢ Paintings

Title Artist School

1. Maru ragini Sahibdin Mwar
2. Radha (Bani Thani) Nihal chand Kishangarh
3. Chaugan Players Dana Jodhpur
4. Raja Anirudh Singh Hara Utkal Ram Bundi
5. Bharat meets Ram at Chitrakut Guman Jaipur
6. Krishna on Swing Nurudin Bikaner

(B) The Pahari School

➢ Origin and Development
➢ Characterstics
➢ Paintings

Title Artist School

7. Krishna with Gopies Manku Basohli
8. Raga Megha Madhodas Kangra
 Unit -1
Rajput or rajasthani School of painting (16th -19th Century)

What is a Miniature Painting?

Any Painting done in small size in any medium and on any surface miniature
painting.
It was generally executed on palm leaves, cloth leather or ivory.
Miniature represents its minute details. It may be a portrait, illustration any
story or a scene from daily life.

Pal School of Painting.

Based on incidents of lord Buddha’s life, a lot of short stories had
been painted between 8th and 11th centuries in Bengal and its surrounding
area. Because these paintings were made in patronage of the kings of the
pal dynasty, therefore, these are called the Paintings of Pal Style.

Jain School of Painting.

In painted pages of “Kalpasutra” there are pictures of preceptors
(Tirthankars) as Mahavira, Parshvanath and Neminath. These pictures also
are narrative, which have been painted on both-palm leaves as well as
cloth. This school use of gold, dark colours, biting bend of limes, rhythmicity
and splendour confer liveliness to jain paintings.

1. Origin and Development of Rajasthani Paintings.

This art was development under Rajput kings so it is called Rajput Frt.
This was inspired by religious followers of Ramanuja like Sur,
tulsi,meera, Vsllsbhscharya etc.
Later number of paintings were done on romance and general folk
themes.
This art was based on Hindi Literature, Music, Poetry, Religion, Raga
and Ragnis Ritikala Paintings etc.
Later the whole Rajasthan was effected by the attack of Mughals but
mewar did not come under their control up to last. This was the
reason that Rajasthani School developed in the purest form in
mawar.
Mawar has an important place in the development of Rajasthani
School of Art it is a mixture of Gujrat and Jain School along with
original Indian art.
At Nathdwara, Mewar School of paintings were done in very large
number. Even today nathdwara paintings are very famous these
paintings mostlu have themes of love stories of Radha and Krishna.
Rajasthani art reached its climax in the period of Raja Raj Singh the
father of Raja Sawant Singh of Kishan Garh.
He was a great lover of paintings, kishangarh painting are very
famous today and they are also the typical form of Rajasthani
painting. The best example of kishangarh paintings is Radha (Bani
Thani).
The pictorial art of Rajasthan shows the sentiments of love and
devotion with exuberant joy of life.
The Central theme of Rajasthani paintings were love. The lovers
represented were always Radha and Krishana. Krishana stands for
the over all soul and Radha for human soul.
The Rajasthani art was developed in whole Rajasthan with folk
effects.
So rajasthani art has little difference in different places of Rajasthan
which are known as sub-schools of Rajasthan i.e.
Mewar school of Art,
Kisshangarh school of Art,
Bundi school of Art,
Jaipur school of Art,
Jodhpur school of Art,
Ajmer school of Art,
Bikaner school of Art.

i) Mewar (Udaipur) Sub-school of Miniature Painting. In the

beginning of the 15th century miniature paintings were
painted in Mewar are (Rajasthan). Its most developed form
can be seen in the paintings of ‘Palam Bhagval’. Besides,
paintings based on Bhagvat Puran, Geet Govind, Dhola-
Maru rambling in Aghatpur and the miniature paintings of
Rasamanjari are among the best examples of fully
developed art of mewar style.

ii) Bundi Sub-school of Miniature Paintings. In the form of

Ragmale paintings, the first miniature painting of Bundi
style was painted in Chumar. In amorous dances of Krishna
and painting of Rasik Priya, conjugation of the Mughal and
the Deccan art-elements, the skills of Bundi style is unique.
Short stories like Rag-Ragini, Laila-Majnu, historical
contexts, harem and scenes of village life have been the
lovely topics of Bundi styke of painting. But, in paintings
related to person, too, Bundi has a well-practised hand.
Outstanding mixture of colours, extraordinary impressive
 style, ordinary volour, organisational uniformity, thin lining,
a wonderful co-ordination between real and virtual,
uncommon harmony of antagonistic elements, love nature
and capacity to make the mind enchanted wonderfully are
the stylistic specialities of Bundi style.

iii) Kota Sub-school of Miniature Paintings. Story of rama,

amorous dance of Krishna, the Mahabharata and other
Vaishnava short stories have been lovely topics of the
painters of Kota sub-school. There are some stylistic and
topical similarities between the styles of Kota and Bundi.
But Kota style has excellence in paintings of Baramasa-a
conventional verse composition consisting of twelve
stanzas depicting the suffering and agony of separation and
the changing moods and characteristics of nature during
the twelve months of the year, a particular type of Hindi
poetry; festivals, ceremonies, hunting scenes, wildlife and
nature.

iv) Bikaner Sub-school of Miniature Paintings. In Bikaner

painting style, there is abundance of elements of the
Mughal art, because the painters such as Ali raza, Master
Sahibdin, Ruknuddin, Nuruddin, and Murad left the Mughal
court and came to Bikaner. Therefore, accustomed in style
of the Mughal Painting, these painters, taking into
consideration the tradition of Bikaner style of painting, kept
their inclination towards to paint the Hindu myths and short
stories of the amorous sports of Krishna, the Ramayana,
Devi Bhagvat, Ragmala, Baramasa, festivals and
classification of heroines in Indian literature.

v) Jodhpur Sub-school of Miniature Paintings. Jodhpur got art

tradition of Mewar in heritage. In the beginning of the 17th
century, it was initiated in Pali Ragmala paintings. The
stylistic characteristic of these paintings is pure indigenous
delineation. Baramasa, the story of Rama, attachment,the
painting of worship of Gods and Goddesses and delineation
of the life of harem are the specific quality of Jodhpur sub-
school of painting. Sirohi and Nagaur are sub-centres of
jodhpur style. Nagaur is known for paintings related to
humans while Sirohi is famous for vividness of the subjects
of paintings.
 vi) Kishangarh Sub-school of Miniature Paintings. Mysterious
beauty of women is the life of Kishangarh style of women is
the life of Kishangarh style of painting. The immortal
paintings of painters like Bhawani das, Surat Ram and Nihal
Chand are priceless heritage of the painting kingdom. In this
style is abundance of amorous sports of Krishna, but the
contexts of the Ramayana, hunting scenes and individual
portraits are also made in plenty. In form of ideal beauty.
‘Bani-Thani’(Radha) and the painting of king Sawant Singh
has been the identity of Kishangarh style.

vii) Jaipur Sub-school of Miniature Paintings. In Jaipur, this

style of miniature painting got patronage in the reign of king
sawai Jai Singh. Mohammad Shad and Sahib Ram were the
prominent artists of Jaipur sub-school. On broad screen and
beautified background among the deep coloured grand
marginated full sized paintings of people, mythological
contexts, raag-raaginiyon, cohabitation scenes and
paintings of abstract matters are characteristic of Jaipur
sub-school.

2. Main characterstics of Ranasthani school of Art.

i) Linear Beauty– Rhythmic and graceful lines have been used in

all sub-school of Rajasthan.
ii) Colour Scheme – Mostly bright glowing colours are used
carefully Red, Yellow, Blue, Green, Brown, white are main
colours that are used without mixing any other colour. Gold
and silver colour can also be seen I some paintings eg. Maru
Ragini Radha (Bathani) etc.
iii) Symbolic paintings – Radha and Krishna have been shown in
the form of soul and god and have been beautifully painted in
all sub-schools of Rajasthan.
iv) Literary Paintings – Paintings related to Indian literature has
been beautifully painted like Geet Govind, Bhagwat Puran,
Raag maka, Raagas and Ragnis etc.
v) Religious themes – Religious themes like Ramayan and
Bhagwat Geeta have been beautifully painted. Scenes from
Ramayana are depicted beautifully eg Bharat meets Ram at
Chitrakut.
 vi) Depiction of Nature – Nature us also beautifully depicted in
Rajasthani School. Floral trees, mountains, water springs and
lakes are dwpicted in a wonderful way. Landscapes and
paintings of different seasons are painted naturally. Paintings
of barah Masa is the depiction of twelve months.
vii) Garments – Garments are highly decorative. Women are
painted, wearing lehnga and choli with transparent chunni and
men are shown wearing jhubba, Pajama and high turbans with
Rajput style patka.
viii) Night Scenes – Night Scenes are painted in a very attractive
way in which black, smoke grey, white and golden yellow
colours are used. Moon and Stars are painted in white colours.
ix) Depiction of Women – women are beautifully and gracefully
depicted in this school. Women are mostly depicted in kishan-
garh school. The Radha of kishangarh is world famous painting
or this school.
x) Different Scenes – Different Scenes like hunting, festivals and
crowdy scenes are also beautifully depicted in Rajasthani art.
Birds and animals are shown in hunting scenes with minute
details and festival scenes are shown with great pomp and
show.

3. Study of the following paintings

i) Maru Ragni
Title Maru Ragini
Artist Sahibdin
School Mewar
Period Circa 18th Centuary
Medium Tempra on Paper
Courtesy National museum New Delhi

Description-
Maru Fagini is a vertical painting from Ragmala series painted
by Sahibdin, the leading the camel.
In this painting a king is shown riding on camel with his queen.
Two male escorts are running along the camel riding couple.
One male attendant is leading the camel.
A hunting dog is also running ahead of tow escorts. The king is
holding a flower in his hand and is looking towards the queen.
 The sky is deep blue. The dresses of all the figures are in flat
colours Camel is well decorated. Transparent white colour
effect is given in the costumes.
The background is yellow ochre and the ground is light green.
On the top of the painting Maru Shri Ragini is written.It is a
painting of Barahamasa.

ii) Radha (Bani Thani)

Title Radha (Bani Thani)
Artist Nihal Chand
School Kishangarh
Period Circa 1760 A.D.
Medium Tempra on Paper
Courtesy National museum New Delhi

Description-
This is one of the most well known Painting of Rajasthani art
Painted by Nihal chand.
Bani Thani means well tuned out. It is believed that the king of
kishangarh used Bani Thani his court dancer as his model for
Radha.
It is a beautiful painting in which her face is elongated with high
and sloping forehead. Pointed, long nose and bulging out well
cut lips, chin is also littke longer, her long black trasses are
flowing down her shoulders to her eaist long tapering fingers
of her right hand are delicately holding the edge of transparent
odhini. There are two pink, white lotusbuds in her left hand.
Odhini is decorated with golden border and motifs and her
dress and jewellery reflects the taste and splendour of Rajput
royalty. She is wearing mostly white bead jewellery.
The background is flat in deep blue colour. Lines are very sharp
and thin. Her body is painted in peach colour.
On the whole the painting is very beautiful.

iii) Chaugan Players-

Title Chaugan Players
Artist Dana
School Jodhpur
Period Circa 18th Centuary
Medium Tempra on Paper
Courtesy National museum New Delhi
 Description-
It is a horizontal painting form Jodhpur School made by Dana.
Two princesses are playing polo with their four maids. The
princesses are sitting on two different horses facing each other in
the upper section of the painting.
While the other four hordes in the lower section with the maids
are running in opposite direction but the faces of the maids are
on the same side facing each other.
All sis figures in the painting are holding polo sticks which are
covering the ball. Horses are well decorated.
All figures have high rounded foreheads faces are profile
elongated eyes over the temples of hair. Their skirts are bell
shaped spread on horses back.
The composition is against a flat green background. Colour are
very bright. All the dresses of the figures are in contemporary
Rajput style and also well ornamented. On the whole the painting
is beautiful.

iv) Raja Anirudh Singh Hara-

Title Raja Anirudh Sing Hara
Artist Utkal Ram
School Bundi
Period Early 18th
Medium Tempra on Paper
Courtesy National museum New Delhi

Description-
This is a vertical painting from Bundi School madw by Utkal Ram.
In this Painting, the prince is holding the reins of the horse near
his chest with both hands.
The dress of the prince is of transparent light coffee colour and his
chest with both hands.
The dress of the prince is of transparent light coffee colour and his
pajama is of pink colour and he is dressed in typical Mughal
Costume.
The background is painted in deep blue-black. The entire
composition is based on prince and his running horse.
Front legs of the horse are uplifted and the horse is balancing on
the back legs only.
The costume of the prince is highly decorative and his turban is
also well decorated. The prince is carrying a sword of red colour.
 The tail of the horse shows the fastness of the running hour.
The composition is almost done white and orange colour with
yellow ochre.

v) Bharat meats Ram at Chitrakut-

Title Bhatat meets Ram at Chitgrakut
Artist Guman
School Jaipur
Period 18th Century
Medium Tempra on Paper
Courtesy National museum New Delhi

Description-
This painting depicts a scene from Ramayana When Bharat Came
to Chitrakut to meet Ram with his three mothers and Guru
Vishwamitra.
In the foreground in front of the huts Ram, Sita and Lakshman are
standing against a green forest.
Behind the huts a grove of lush green banana tree is painted.
This small painting has fifty figures. In this painting Ram, Sita and
Lakshman are shown with other figures in different parts of the
painting doing different activities.
On one place Ram is shown prostrate to the ground touching feet
of his Guru and lakshmana stands nearby facing the Guru with
folded hands.
On one place Ram is meeting his mother ande hugging her.
On the other place Ram is bowing towards his mother with folded
hands.
On the lower left Ram listens about his father’s death from
Vishwamitra and loses conciousness.
In next scene Sita is shown sitting in front of three mothers and
their maids.
In the foreground at the right corner of the painting all the figures
are shown facing toward the edge of the painting bidding goodbye
to bharat Gurus and mithers.
In front we can see a small stream with white and red lotus
flowers.
In the background the use of green colour in different shades is
the specially of this painting.
The foreground is coloured in orange the huts are done in sap
green colour and mountains are painted in burnt siena colour.
On the whole the colour balancing of the painting is very good.
Prominent Jaipur style is visible in this painting.
vi) Krishna on Swing
Title Krishna on Swing
Artist Nurudin
School Bikaner
Period 1750-1760 A.D.
Medium Tempra on Paper
Courtesy National museum New Delhi

Description-
The painting Krishna on swing is yet another marvellous
achievement of this period the painting has two panels depicting
two different parts of scene. On the first part of the panel Krishna
is shown sitting on a swing on the left side of panel. He is wearing
a crown on his head, his upper part is semi-clothed and there is a
white flower garland in his neck. There is a dupatta hanging from
his shoulders, and he is wearing an orange colour dhoti. The blue
complexion of his body has been highlighted.Radha sitting in front
of him in the balcony is wearing traditional but decoratd ‘Ghaghra
and Choli’. They are looking at each at each other. Her head is
covered with a transparent odhni and she is sitting on a red
carpet.There is a pillow supporting the back of both Radha and
Krishna.
In the lower panel, both Radha and Krishna are sitting atdifferent
places under a tree in the foreground.An attendant of Radha is
also shown in the painting. Shehas perhaps brought a massage for
Krishna. Here again Krishna is wearing a crown, garland and
dupatta, but his dhoti is of yellow colour. Both Radha and Krishna
are sitting on red carpets supported by pillows. Radha is wearing
yellow coloured ‘Ghaghra and Choli’.the attendant standing in
front of Krishna, is wearing a striped ‘Ghaghra and choli’. The trees
and hills are in the background. The leaves of the trees are shown
clearly in clusters. Each lach leaf of the tree reveals the artist’s
delight in rendering details. The hill is drawn in typical Rajasthani
style.

The Pahari School

01. Origin and Development.

 The Pahari region comprises the present the present state of
Himachal some adjoining areas of Punjab, the areas of Jammu and
Garhwal.
The whole area was divided into small states ruled by the by
Rajput king who were often engaged in wars.
These states were the centers of great artistic activities from the
later half of the 17th to nearly the middle of 19th century because
many artist s of Rajasthan settled here due to the fear of Mugals.
Sub-School of Pahari school are :-
i) Basohli
ii) Guler
iii) Kangra
iv) Kulu Mandi

1. Basohli-
The earliest centre of painting in the Pahari was Basohki were
under the patronage of Raja Kripal Pal, an artist named Devidasa
executed miniatures in the form of the Rasmanjari illustrations on
1694 A.D.
The basohii style of painting is characterized by vigorous and bold
lines and strong glowing colours. The Basohli style spread to the
various neighbouring states till the middle of the 18th century.

2. Guler-The last phase of Basohli style was closely followed by the

jammu group of paintings mainly consisting the portraits of Raja
Balwant Singh of jasrota by Nainsukh an artist who originally
belonged to Guler but had settled at jasrota. These paintings are
in new naturalistic and delicate style marking a change form the
earlier traditions of the basohli art.
At Guler, a number of portraits of Raja Goverdhan Chand of Guler
were executed in Circa 1750 A.D. in a style having close affinity
with the portraits of Balwant Singh of Jasrota.
The first group lf miniatures done in the Pahari region is
represented by the famous series of Bhagwata Geeta, Geet
Govinda, etc. the exact place of origin of these series of painting
is not known.

3. Kangra-
The Guler style was followed by another style of painting termed
as Kangra style, representing the third phase of Pahari painting in
the last quarter of the 18th century. The Kangra style is
development from of the guler style.
 The name of Kangra style is given to this group of painting for the
reason that they are identical in style to the portraits of Raja
Sansar Chand of Kangra.
The Kangra style continued to florish at carious place namely
Kangra, Guler, Basohli, Chamba, Jmmu, Nurpur and Garhwal.
Some of the Pahari painters found patronage in Punjab under
Maharaja Ranjit singh in the beginning of 19th century and
executed portraits and other miniatures in a modified version of
Kangra style which continued till the middle of the 19th century.

4. Kulu Mandi-
Along with the naturalistic kangra styhle in Pahari region there
also flourished a folk style of painting in Kuku Mandi area, mainly
inspired by the local tradition.
A large number of portraits of Kulu and Mandi rulers and
miniatures on other themes are available in this style. Bold
drawing and use of dark and bull colours mark this style. Though
influence of kangra is observed in certain cases yet the style
maintain its distinct folkish character.

02. Charactgerstics of Pahari School of Miniature Paintings

1. Linear Beauty-
One of the main features of Pahari paintings is the linear
beauty, rhythm and smoothness have been added to the
figures through fine lines. Lines used in eye drawing are praise
worthy.
2. Perspective and colours-
Mostly primary colours are used which are bright some mixed
colours like pink. Green, mauve and grey are also beautifully
used. The perspective is not been given much weight but
scenes does not look improper. In Basohli the sky is shown as
a narrow band of blue and white at top.
3. Use of Gold and silver colours-
The gold colour used on a lavish scale. Gold and silver are use
garments and ornaments.

4. Depiction of nature-
Trees, waterfalls, forests, etc. have been depicted full of charm
in Pahari School. In the sky, rain, moon, clouds lightning and
stars etc. have been nicely painted.
5. Female figures-
 The figures are slim, long, smooth and soft. The round face,
large expressive eyes, thin lips, high nose in the same line of
sloping forehead, and almond colour bodies all combined
together produce a lovely beauty in the painting.
6. Romantic Scenes-
The love sense of hero and heroin are of very high order.
Krishna in the company of gopies is in a grove at the bank of a
river. Hero Krishna is the symbol of God and heroin Radha is
the soul that goes through so many of obstacles to meet the
almighty.
7. Garments-
Lehnga, Choli and transparent Chunni are fenerally worn by
the women in Pahari School. males are shown wearing
Angarkha, pajama and turban. Krishna is always shown
wearing a pitambar mostly in yellow colour.
8. Use of border-
In some paintings, we find ornamental borders of Mughal
style. Red borders are observable in these miniatures.

03. Study of the following paintings-