History of Indian Art - Unit – I - B (i) Rajasthani School of Miniature Painting
Origin and development of Rajasthani painting
Origin
Rajput painting is considered as a bright chapter in the history of Hindu miniature Painting of a high standard in North-West India. The period of Rjput painting embraces the period of final growth from the latter half of the 16th century to the 19th century.
Rajput paintings were confined around Rajasthan, Bundelkhand and Punjab region of the Himalayas. It has been subdivided into two styles based on geographic and stylistic differences: The Rajasthani School covering the areas of Mewar (later Udaipur), Jaipur, Bundi, Kishangarh, Jodhpur, Bikaner.
Development
Two major factors contributed greatly to the development of Rajasthani Paintings. First, the economic prosperity enjoyed by the commercial community of Rajasthan. Second, the revival of Vaishnavism and the growth of Bhakti cult.
In the 14th century the influence of poets and writers like Ramanuja, the worshipper of Lord Vishnu and Jaydev, the worshipper of Lord Krishna brought about great changes in the art, literature and spiritual awakening of the people all over India.
The special style of the Rajasthani paintings shows a primitive vigour, bold outlines and brilliant colours set in a harmonious pattern. Regional features in the depiction of facial types, local scenery and technical details can be found in different sub-schools.
Rajasthani painting, like Indian literature, is a symbolic expression of a multiple aesthetic sentiments
of lndian life, its nature and daily activities and sudden flashes of emotional thought is a unique
feature of Rajasthani painting.
Soon after Rajasthani painting was accepted as an established school of painting, it must have in close contact with Mughal School of painting and contact with Mughal court was inevitable. But it is an established fact that at no time the proud Rajput would yield in spirit to foreign masters. The nomenclature Rajasthani painting is not given to any rootless set of painting that grew indigenously at any one place, but is a concerted effort by group of master painters to develop this
new type of painting where Western Indian painting, Jain Manuscript painting and Gujarat style were fused together to give rise to this new genre of painting.
The Main Characteristics or features of Rajasthani School of Miniature Painting.Variety in Themes:
There is a great variety in themes of Rajasthani Paintings. Themes are based on seasons, music, hunting scenes, religious themes like Ramayana, Mahabharata etc., love scenes, Ragmala series etc. In love scenes, Krishna and Radha have been depicted. Colour Scheme: The main colours used are the primary colours (red, yellow & blue), green, brown and white. Other colours in use are golden and silver. Costumes: Females are wearing Lehanga and Choli with Transparent Dupatta. Males are wearing turbans and Jhoba (a group of threads), Pyjama and Patka.Facial features: Faces are full of emotions and feelings according to the mood. The faces are in profile, elongated and oval, the forhead is inclining downwards, long and pointed nose, swelling out lips and pointed chin.
Depiction of women: The women of Kishangarh School are very impressive.
Lines: The lines are very fine, powerful and rhythmic.Depiction of Nature: Nature has also been depicted very beautifully. Different types of trees, floral trees, mountains, water springs and lakes have been depicted in a very attractive manner.
Sub-Schools
Mewar-
• The largest number of paintings in this style is centered around Krishna Bhakti Cult. The customs prevailing at that period, village life, scenes from Rajput court marriage procession, songs and dances, inner life of the places and battle scenes have also been painted.
• Bright and brilliant colours have been profusely used.
• Male and female figures have long noses, oval shaped faces and elongated fish-like eyes. The males use loose fitting garments, embroidered patka and turbans. Females use loose long skirts, choli and transparent odhnis (veils). The female figures have been drawn relatively smaller than the male.
• Trees are ornamental, flowers have been drawn in bunches, hills and mountains have been depicted in Persian style and waves in the water have been drawn in the basket pattern of Apabhransa style.
• There has been little use of perspective. Total space in the painting has been divided by the use of colours in different steps.
Bundi-
• In Bundi paintings, human figures resemble, but their expressions differ greatly.
• Human faces are round and small; the shades near cheeks, eyes and nose add charm and emotion to the figures.
• Landscapes of hills, thick jungles, rivers and lotus ponds and lakes with water birds have been painted beautifully.
• The favourite themes of Bundi paintings are- Ragmala, Baramasa and Rasikpriya.
Jodhpur-
• Female figures are tall tresses tied up high in a knot and have high forehead. The heads are smaller in comparison to the body. Eyes are stretched to the ear in the shape of wag-tail. Noses are sharp like the beak of parrot, waists are slim, breasts and buttock are heavy and legs are long. The moustache and side burns of the male are spectacular.
• Jodhpur paintings are somewhat larger than other miniatures.
• Female figures are somewhat shorter in comparison to males.
• The pavilions are white and large. There are massed twisted clouds in the sky and a dense grove of trees in the background.
Kishangarh-
• Subject matter of Kishangrh School is widely varied. Hunting scenes, portraits of kings, Nawabs,Emperors and Saints have been beautifully painted. The picture of romantic life of Radha and Krishna described in Geet- Govinda, stories from Bhagvat puran, scenes from Bihari Chandrika and Nayak- Nayika Bheda are the main subjects of Kishangrh paintings.
• Female figures have been painted slim, flexible and tall like creepers; Faces are long with high and sloping foreheads. Pointed long nose, bulging out well-cut- lips, long chins, long drawn eyes curved upward in the shape of Kanjan pakshi and bow like eyebrows have been beautifully painted. Long neck, long fingers, a lock of hair hanging near the ear enhance their aesthetic beauty.
• Primary colours have been applied. Horizon and the sky are replaced by creepers and foliages.
Bikaner-
• Main themes of Bikaner paintings are based on Ramayana, Mahabharata, Krishna legends,Ragamala and other love scenes of Radha and Krishna.
• In human figures, a little tight lips are painted, eyes are half open, chin small, wrists are very thin, chest in comparison to other Rajput style seems underdeveloped and moustaches of men, a little downward bent. Ghagras of the women are decorated with diagonal stripes.
• Clouds are painted in special circular style. Hunting scenes have also been beautifully depicted.
Jaipur-
• In the paintings of Jaipur, there is a grace in the use of colours and lines. There is the expression of emotion of different postures.
• The faces of women are round, figures are in medium size, eyes are large and elongated with an upward curve. The figures have a robust body, round nose, and hair reaching up to the ear. The men wear loose pyjamas and turbans studded with diamonds. Ghagras of women are painted with dark colours.
• Jaipur paintings have ornamented border. Light and shade has been used properly
Please click on below link to download CBSE Class 12 Painting And Sculpture Rajasthani Schhol of Miniature Painting Worksheet
