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Questions and Answers
The term 'Rajasthani Schools of Painting' pertains to the schools of painting that prevailed in the princely ______ and thikanas of what roughly constitutes Rajasthan and parts of Madhya Pradesh.
The term 'Rajasthani Schools of Painting' pertains to the schools of painting that prevailed in the princely ______ and thikanas of what roughly constitutes Rajasthan and parts of Madhya Pradesh.
kingdoms
Scholar Anand Coomaraswamy in 1916 coined the term 'Rajput Paintings' to refer to these as most rulers and ______ of these kingdoms were Rajputs.
Scholar Anand Coomaraswamy in 1916 coined the term 'Rajput Paintings' to refer to these as most rulers and ______ of these kingdoms were Rajputs.
patrons
According to Coomaraswamy, the nomenclature represented the ______ tradition of painting prevalent in the mainland before the conquest by the Mughals.
According to Coomaraswamy, the nomenclature represented the ______ tradition of painting prevalent in the mainland before the conquest by the Mughals.
indigenous
Paintings were painted on ______ —layered, thin sheets of handmade papers glued together to get the desired thickness.
Paintings were painted on ______ —layered, thin sheets of handmade papers glued together to get the desired thickness.
The ______ was sketched on waslis in black or brown followed by colours fixed therein by brief notations or sample patches.
The ______ was sketched on waslis in black or brown followed by colours fixed therein by brief notations or sample patches.
Color pigments were predominantly obtained from minerals and precious metals like gold and silver that were mixed with ______ as the binding medium.
Color pigments were predominantly obtained from minerals and precious metals like gold and silver that were mixed with ______ as the binding medium.
On completion, the painting was burnished with an ______ to lend it a uniform sheen and an appealing resplendence.
On completion, the painting was burnished with an ______ to lend it a uniform sheen and an appealing resplendence.
The painting activity was a kind of ______, with the master artist composing and doing preliminary drawings.
The painting activity was a kind of ______, with the master artist composing and doing preliminary drawings.
By the sixteenth century, ______ in the cults of Rama and Krishna had become popular in many parts of western, northern and central India as part of the Bhakti movement.
By the sixteenth century, ______ in the cults of Rama and Krishna had become popular in many parts of western, northern and central India as part of the Bhakti movement.
______, translated as “The Connoisseur's Delight', is replete with complex poetic interpretations and was composed to incite aesthetic pleasure to elite courtiers.
______, translated as “The Connoisseur's Delight', is replete with complex poetic interpretations and was composed to incite aesthetic pleasure to elite courtiers.
______, another poetic work by Keshav Das, was written in the honour of Rai Parbin, a celebrated courtesan of Orchha.
______, another poetic work by Keshav Das, was written in the honour of Rai Parbin, a celebrated courtesan of Orchha.
______, authored by Bihari Lal, constituting 700 verses (satsai), is composed in the form of aphorisms and moralising witticism.
______, authored by Bihari Lal, constituting 700 verses (satsai), is composed in the form of aphorisms and moralising witticism.
______ paintings are pictorial interpretations of ragas and raginis.
______ paintings are pictorial interpretations of ragas and raginis.
Each family is headed by a male raga, having six female consorts called ______.
Each family is headed by a male raga, having six female consorts called ______.
Texts, such as the Ramayana, Bhagvata Purana, Mahabharata, Devi Mahatmya and the like were favourites with all schools of ______.
Texts, such as the Ramayana, Bhagvata Purana, Mahabharata, Devi Mahatmya and the like were favourites with all schools of ______.
The ______ School flourished between 1600 and 1700 CE and is most representative of the Hindu Rajput courts.
The ______ School flourished between 1600 and 1700 CE and is most representative of the Hindu Rajput courts.
Unlike the specificity of Rajasthani schools that emerged and flourished in precise territorial kingdoms and courts of their respective kings, Malwa School defies a precise ______ for its origin.
Unlike the specificity of Rajasthani schools that emerged and flourished in precise territorial kingdoms and courts of their respective kings, Malwa School defies a precise ______ for its origin.
A complete absence of the mention of patron kings and also portraits in this school supports a view that these paintings were bought by the Datia rulers from ______ artists.
A complete absence of the mention of patron kings and also portraits in this school supports a view that these paintings were bought by the Datia rulers from ______ artists.
Provincial Mughal Schools prospered in many parts of the country, which were under the Mughals but headed by powerful and wealthy governors appointed by Mughal ______.
Provincial Mughal Schools prospered in many parts of the country, which were under the Mughals but headed by powerful and wealthy governors appointed by Mughal ______.
Mewar is conjectured to be a significant early centre of painting in ______.
Mewar is conjectured to be a significant early centre of painting in ______.
The reign of Jagat Singh I (1628–1652) is recognised as the period when pictorial aesthetics got reformulated under virtuoso artists Sahibdin and ______.
The reign of Jagat Singh I (1628–1652) is recognised as the period when pictorial aesthetics got reformulated under virtuoso artists Sahibdin and ______.
Attributed to ingenious artist Sahibdin, Yuddha Kanda, the Book of Battles, is a chapter in the Ramayana set of paintings, popularly referred to as the Jagat Singh ______.
Attributed to ingenious artist Sahibdin, Yuddha Kanda, the Book of Battles, is a chapter in the Ramayana set of paintings, popularly referred to as the Jagat Singh ______.
______, a town close to Udaipur and a prominent Vaishnava centre, also emerged as a school of painting in the late seventeenth century.
______, a town close to Udaipur and a prominent Vaishnava centre, also emerged as a school of painting in the late seventeenth century.
Large backdrops called ______ were painted on cloth for the deity, Shrinathji, for several festive occasions.
Large backdrops called ______ were painted on cloth for the deity, Shrinathji, for several festive occasions.
A prolific and distinct school of painting flourished in ______ in the seventeenth century, which is remarkable for its unblemished colour sense and excellent formal design.
A prolific and distinct school of painting flourished in ______ in the seventeenth century, which is remarkable for its unblemished colour sense and excellent formal design.
The Bundi school blossomed under the patronage of two rulers-Rao Chattar Sal (1631–1659), who was made the governor of Delhi by ______.
The Bundi school blossomed under the patronage of two rulers-Rao Chattar Sal (1631–1659), who was made the governor of Delhi by ______.
Bundi paintings duringthe eighteenth century appear to have imbibed ______ aesthetics, such as love for bright and vivid colours.
Bundi paintings duringthe eighteenth century appear to have imbibed ______ aesthetics, such as love for bright and vivid colours.
______'s earliest phase of painting, Bundi Ragamala bears an inscription in Persian that dates back to 1591, mentions names of its artists
______'s earliest phase of painting, Bundi Ragamala bears an inscription in Persian that dates back to 1591, mentions names of its artists
The accomplished tradition of painting at Bundi gave rise to one of the most outstanding Rajasthani Schools, ______, which excels in the depiction of hunting scenes and reflects an exceptional excitement and obsession for animal chase.
The accomplished tradition of painting at Bundi gave rise to one of the most outstanding Rajasthani Schools, ______, which excels in the depiction of hunting scenes and reflects an exceptional excitement and obsession for animal chase.
By the reign of Ram Singh I (1686–1708), artists had passionately enlarged their inventory to a large variety of subjects. ______ artists seem to have been the first to render landscape as the real subject of compositions.
By the reign of Ram Singh I (1686–1708), artists had passionately enlarged their inventory to a large variety of subjects. ______ artists seem to have been the first to render landscape as the real subject of compositions.
After its separation from Bundi, ______ had its own school, commencing around 1660s in the reign of Jagat Singh (1658–1683).
After its separation from Bundi, ______ had its own school, commencing around 1660s in the reign of Jagat Singh (1658–1683).
Rao Bika Rathore established one of the most prominent kingdoms of Rajasthan, ______, in 1488.
Rao Bika Rathore established one of the most prominent kingdoms of Rajasthan, ______, in 1488.
As a result of long association with the ______, Bikaner developed a distinctive language of painting that was influenced by the Mughal elegance and subdued colour palette.
As a result of long association with the ______, Bikaner developed a distinctive language of painting that was influenced by the Mughal elegance and subdued colour palette.
In the reign of Anup Singh, Ruknuddin (whose ancestors came from the Mughal court) was the master artist, whose style was an amalgamation of the indigenous idiom with ______ and Mughal conventions.
In the reign of Anup Singh, Ruknuddin (whose ancestors came from the Mughal court) was the master artist, whose style was an amalgamation of the indigenous idiom with ______ and Mughal conventions.
A prevailing practice in Bikaner was to set up studios called ______, where a group of artists worked under the supervision of a master artist.
A prevailing practice in Bikaner was to set up studios called ______, where a group of artists worked under the supervision of a master artist.
The custom of having portraits of artists is unique to the ______ School and most of them are inscribed with information regarding their ancestry.
The custom of having portraits of artists is unique to the ______ School and most of them are inscribed with information regarding their ancestry.
Widely held among the most stylised of all Rajasthani miniatures, ______ paintings are distinguished by their exquisite sophistication and distinct facial type exemplified by arched eyebrows, lotus petal shaped eyes slightly tinged with pink, having drooping eyelids, a sharp slender nose and thin lips.
Widely held among the most stylised of all Rajasthani miniatures, ______ paintings are distinguished by their exquisite sophistication and distinct facial type exemplified by arched eyebrows, lotus petal shaped eyes slightly tinged with pink, having drooping eyelids, a sharp slender nose and thin lips.
With Raj Singh getting initiated into the Pushtimargiya cult of Vallabhacharya, ______ Lila themes became personal favourites for the rulers of Kishangarh and represented a major portion of their court art.
With Raj Singh getting initiated into the Pushtimargiya cult of Vallabhacharya, ______ Lila themes became personal favourites for the rulers of Kishangarh and represented a major portion of their court art.
With the political presence of Mughals since the sixteenth century, influence of their visual aesthetics made its way in the style of portraiture and depiction of court scenes, etc. within the ______ School of Painting.
With the political presence of Mughals since the sixteenth century, influence of their visual aesthetics made its way in the style of portraiture and depiction of court scenes, etc. within the ______ School of Painting.
Due to his inclination towards the Vallabha cult of Shrinathji, he patronised many Krishna related themes with ______ Purana as the most prominent one.
Due to his inclination towards the Vallabha cult of Shrinathji, he patronised many Krishna related themes with ______ Purana as the most prominent one.
The last phase innovative of Jodhpur painting coincided with the reign of ______ Singh (1803–1843).
The last phase innovative of Jodhpur painting coincided with the reign of ______ Singh (1803–1843).
Raja Bharmal (1548–1575) married his daughter to ______.
Raja Bharmal (1548–1575) married his daughter to ______.
Sawai Jai Singh (1699–1743), an influential ruler, established a new capital city ______ named after him in 1727 and shifted from Amer.
Sawai Jai Singh (1699–1743), an influential ruler, established a new capital city ______ named after him in 1727 and shifted from Amer.
Artists during his reign painted sets based on Rasikapriya, Gita Govinda, Baramasa and ______, where the hero's figure is in striking resemblance with the king.
Artists during his reign painted sets based on Rasikapriya, Gita Govinda, Baramasa and ______, where the hero's figure is in striking resemblance with the king.
A particular set of ______ paintings from Mewar is, especially, important as one of its paintings bears crucial documentary evidence regarding its artist, patron, place and date of painting.
A particular set of ______ paintings from Mewar is, especially, important as one of its paintings bears crucial documentary evidence regarding its artist, patron, place and date of painting.
Aniruddha Singh (1682–1702) succeeded ______ Singh.
Aniruddha Singh (1682–1702) succeeded ______ Singh.
The painting is inscribed with a line on the upper portion that is translated as, “beautiful maidens on horsebacks, playing".The painting was made in 1810 and is in the collection of ______ Museum, New Delhi.
The painting is inscribed with a line on the upper portion that is translated as, “beautiful maidens on horsebacks, playing".The painting was made in 1810 and is in the collection of ______ Museum, New Delhi.
Flashcards
Rajasthani Schools of Painting
Rajasthani Schools of Painting
Schools of painting in princely kingdoms of Rajasthan and parts of Madhya Pradesh.
Rajput Paintings
Rajput Paintings
Term coined by Anand Coomaraswamy in 1916 for paintings of Rajput rulers.
Waslis
Waslis
Layered, thin sheets of handmade paper glued together to create the desired thickness for paintings.
Bhakti movement
Bhakti movement
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Gita Govinda
Gita Govinda
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Rasamanjari
Rasamanjari
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Rasikapriya
Rasikapriya
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Baramasa
Baramasa
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Ragamala Paintings
Ragamala Paintings
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Malwa School of Painting
Malwa School of Painting
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Ragamala Paintings by Nisardin
Ragamala Paintings by Nisardin
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Yuddha Kanda
Yuddha Kanda
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Pichhwais
Pichhwais
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Bundi Ragamala
Bundi Ragamala
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Kota School of Painting
Kota School of Painting
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Mandi
Mandi
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Ustas/Ustad
Ustas/Ustad
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Kishangarh School of Painting
Kishangarh School of Painting
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Jodhpur School of Painting
Jodhpur School of Painting
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Maru Ragini
Maru Ragini
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Chaugan Players
Chaugan Players
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Krishna Swinging and Radha in Sad Mood
Krishna Swinging and Radha in Sad Mood
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Bani Thani
Bani Thani
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Study Notes
The Rajasthani Schools of Painting
- The term 'Rajasthani Schools of Painting' applies to paintings from princely kingdoms and thikanas in what is now Rajasthan and parts of Madhya Pradesh
- These principalities include Mewar, Bundi, Kota, Jaipur, Bikaner, Kishangarh, Jodhpur (Marwar), Malwa, and Sirohi
- These paintings were largely created between the 16th and early 19th centuries
Rajput Paintings
- Anand Coomaraswamy coined "Rajput Paintings" in 1916 to refer to paintings from kingdoms with Rajput rulers and patrons
- The term was used to categorize and differentiate these paintings from the Mughal School of Painting
- Malwa (Central India) and the Pahari Schools (mountainous Himalayan region of north-western India) were also within the scope of Rajput Schools
- Coomaraswamy's nomenclature represented the indigenous painting tradition before the Mughal conquest
- 'Rajput Schools' is now considered obsolete, and specific categories like Rajasthani and Pahari are used instead
Pictorial Styles
- Pictorial styles in these kingdoms varied significantly in execution (fine or bold), color preference (brilliant or gentle), and compositional elements (architecture, figures, and nature)
- Variations also included modes of narration, affinity for naturalism, or emphasis on extreme mannerism
Painting Technique
- Paintings were created on waslis, which are layered, thin sheets of handmade paper glued together
- Outlines were sketched on waslis in black or brown, with colors fixed using notations or sample patches
- Color pigments were mainly derived from minerals and precious metals like gold and silver, mixed with glue as the binding medium
- Brushes were made from camel and squirrel hair
- Finished paintings were burnished with agate for a uniform sheen and appealing resplendence
Teamwork
- Painting was a team effort
- The master artist would compose and make preliminary drawings
- Pupils or experts would handle coloring, portraiture, architecture, landscape, and animals
- The master artist would then add finishing touches
- A scribe would write the verse in any space left
Themes of Paintings – An Overview
- Vaishnavism, with cults of Rama and Krishna, became popular in western, northern, and central India as part of the Bhakti movement during the 16th Century
- Krishna had a special appeal and was worshipped as God and an ideal lover
- The notion of 'love' was cherished as a religious theme, synthesizing sensuousness and mysticism
Gita Govinda
- Gita Govinda, composed in the 12th century by Jayadeva (believed to be the court poet of Lakshmana Sen of Bengal), is a lyrical poem in Sanskrit
- Known as the ‘Song of the Cowherd' it evokes shringara rasa
- It portrays the mystical love between Radha and Krishna through worldly imageries
Rasamanjari
- Bhanu Datta, a Maithil Brahmin from 14th century Bihar, composed Rasamanjari, interpreted as the ‘Bouquet of Delight'
- Written in Sanskrit, the text is a treatise on rasa
- It classifies heroes (nayakas) and heroines (nayikas) by age (baal, taruna, praudha), physiognomic traits (padmini, chitrini, shankhini, hastini), and emotional states (khandita, vasaksajja, abhisarika, utka)
- Krishna is not mentioned but painters introduced him as the archetypal lover
Rasikapriya
- Rasikapriya translates to “The Connoisseur's Delight'
- It is replete with complex poetic interpretations and aimed to incite aesthetic pleasure in elite courtiers
- It was composed in Brajbhasha by Keshav Das, the court poet of Raja Madhukar Shah of Orchha, in 1591
- Rasikapriya explores emotive states like love, togetherness, jilt, jealousy, quarrel, separation, anger, which are depicted through Radha and Krishna
Kavipriya
- Kavipriya, another poetic work by Keshav Das, was written for Rai Parbin
- It is a love tale that contains Baramasa which climatically describes the 12 months of the year
- Keshav Das illustrates daily life in different seasons and alludes to festivals, describing how the nayika prevails upon the nayaka not to leave her
Bihari Satsai
- Bihari Satsai was authored by Bihari Lal and contains 700 verses (satsai) in aphorisms and moralizing witticisms
- It is largely held that he composed the Satsai around 1662 while at the court of Jaipur working for Mirza Raja Jai Singh
Satsai
- Mirza Raja Jai Singh's is name appears in several verses
- The Satsai has been largely painted at Mewar and less frequently in the Pahari School
Ragamala
- Ragamala paintings are pictorial interpretations of ragas and raginis
- Ragas are traditionally envisioned in divine or human form within romantic or devotional contexts
- Each raga is associated with a specific mood, time of day, and season
- Ragamala paintings are arranged in albums invariably containing 36 or 42 folios, organized as families
- Each family is headed by a male raga with six female consorts (raginis)
- The six main ragas are Bhairava, Malkos, Hindol, Dipak, Megha, and Shri
Themes
- Bardic legends and romantic tales like Dhola-Maru, Sohni-Mahiwal, Mrigavat, Chaurpanchashika, and Laurchanda were popular themes
- Texts like the Ramayana, Bhagvata Purana, Mahabharata, and Devi Mahatmya were favored by painting schools
- Many paintings record court scenes, historic moments, hunting expeditions, wars, victories, picnics, garden parties, dance performances, rituals, festivals, wedding processions, portraits, city views, birds, and animals
Malwa School of Painting
- The Malwa School flourished between 1600-1700 CE and is representative of Hindu Rajput courts
- Its simplistic two-dimensional language is a culmination of stylistic progression from Jain manuscripts to Chaurpanchashika manuscript paintings
- Malwa School lacks a specific origin center, suggesting a vast territory in Central India with mentions of Mandu, Nusratgarh, and Narsyang Sahar
- Early sets include the Amaru Shataka (1652 CE) and a Ragamala painting by Madho Das (1680 CE)
- A large number of Malwa paintings from the Datia Palace collection support Bundelkhand as the region of painting
- Mural paintings in Bundelkhand's Datia Palace lack Mughal influence, unlike paper works leaning towards two-dimensional austerity
- Absence of patron kings and portraits suggests paintings were bought by Datia rulers from traveling artists with popular themes (Ramayana, Bhagvata Purana, Amaru Shataka, Rasikapriya, Ragamala, Baramasa)
Mughal Schools
- The Mughal School dominated from the 16th century through Delhi, Agra, Fatehpur Sikri, and Lahore
- Provincial Mughal Schools prospered under Mughal governors, evolving pictorial language through a mix of Mughal and local elements
- The Deccani School flourished in centers like Ahmednagar, Bijapur, Golconda, and Hyderabad from the 16th century
- Rajasthani Schools rose to prominence in the late 16th and early 17th century, followed by the Pahari School in the late 17th and early 18th centuries
Mewar School of Painting
- Mewar is thought to be a significant early center of painting in Rajasthan
- It potentially formalized a continuous stylistic tradition from bold pre-17th century indigenous styles to the refined styles after Karan Singh's contact with the Mughals
- Long wars with the Mughals wiped out many early examples
- The emergence of the Mewar School is associated with an early dated set of Ragamala paintings
- These paintings were painted at Chawand in 1605 by Nisardin
- The set's colophon page reveals this information and shares visual aesthetics in its direct approach, simple compositions, sporadic decorative details and vibrant colors
- Jagat Singh I's reign (1628–1652) saw pictorial aesthetics reformulated by Sahibdin and Manohar, adding vitality to Mewar paintings
- Sahibdin painted the Ragamala (1628), Rasikapriya, Bhagvata Purana (1648), and the Yuddha Kanda of Ramayana (1652)
- Manohar's Bal Kanda of Ramayana (1649) is a significant work
- Jagannath painted the Bihari Satsai in 1719, a unique contribution
- Other texts like Harivamsha and Sursagar were illustrated in the late 17th century
- Sahibdin is attributed with the Yuddha Kanda or Jagat Singh Ramayana, a chapter in the Ramayana set of paintings
- Sahibdin used oblique aerial perspective to impart credibility to war pictures
- He layered several episodes or spread a single episode over multiple folios, portraying Indrajit's tactics and magic weapons
- By the 18th century, Mewar painting shifted from textual representations to courtly activities and royal pastimes, preferring a bright palette with prominent reds and yellows
- Nathdwara, near Udaipur and a Vaishnava center, emerged as a painting school in the late 17th century
- Large backdrops known as pichhwais were painted on cloth for festive occasions of the deity Shrinathji
- Mewar painting became more secular and courtly in the 18th century, with increased portraiture and outsized court scenes, hunting expeditions, festivals, zenana activities, and sports
- A folio depicts Maharana Jagat Singh II (1734-1752) touring the countryside while hawking and utilizes a panoramic view enabled with a raised horizon
Bundi School of Painting
- The Bundi School of Painting flourished in the 17th century, known for its color sense and formal design
- The Bundi Ragamala dated to 1591, was assigned to the earliest phase of Bundi painting and was painted at Chunar during Bhoj Singh's reign (1585–1607) of the Hada Rajput
- Two rulers whose patronage allowed the school to blossom: Rao Chattar Sal (1631–1659), governor of Delhi made governor by Shahjahan; Rao Bhao Singh (1659–1682)
- There was innovative developments during the reigns of Aniruddha Singh (1682–1702) and Budh Singh
- Umed Singh's reign (1749–1771), son of Budh Singh, was its most accomplished artistic phase and acquired Deccani aesthetics with details and colors
- Bishen Singh (1771–1821) then he ruled for 48 years and was a connoisseur of art
- His successor Ram Singh (1821–1889) decorated the Bundi palace with mural paintings of processions, scenes and episodes of Krishna's story
Features of Bundi and Kota School
- A keen interest in lush vegetation
- Picturesque landscape with varied flora, wildlife, birds, hills, thick jungles, and water bodies.
- Has a series of fine equestrian portraits.
- Drawing of elephants is, particularly, unsurpassed
- Women are petite with round faces, receding foreheads, sharp noses, full cheeks, sharply penciled eyebrows and a 'pinched' waist
- The earliest phase of Bundi painting, Bundi has an inscription in Persian dating back to 1591
- Mentions names of its artists-Shaykh Hasan, Shaykh Ali and Shaykh Hatim, and Mir Sayyid Ali and Khwaja Abddus Samad of the Mughal court
- The Chunar as the place of origin of the painting where maintained a palace.
- Among the surviving few folios of the Chunar set are Raginis Khambavati
- Raga Dipak portrays, in a night setting, is seated with in a warmed chamber
- This is illuminated by flames by two lamps in ornate structure
- The sky is glittering with innumerable stars and is turning yellow and time is passing by
- Baramasa is used and is also part of Kavipriya written for Rai Parbin
Kota School of Painting
- The tradition of painting at Bundi excels in depicting hunting scenes reflecting the animal chases
- Bundi and Kota were part of the same kingdom to 1625
- Jahangir divided Bundi and awarded one part to younger son of Rao Ratan Singh or Madhu Singh
Kota School
- Post-Bundi break up Kota started its own shcool in around 1660 in Jagat Singh
- Kota School borrowed paintings from the Bundi school
- There is non-comformity in figure
- Artists enlarged subjects on Kota themes
- Also included landscape as a subject
- Umed Singh was the king for 10 years
- Kota painting also includes animal combat
Bikaner School of Painting
- Rao Bika Rathore established Bikaner in 1488
- Anup Singh set up a a manuscript and painting library
- Developed a distinctive painting langauge influences by Mughals
- Several master artists of the atelier in Mughal worked in Bikaner
- Karan Singh hired Ustad Ali Raza who was a master painter from Dehli
- His work represents Bikaner era which dated back to 1650
Bikaner Studios
- Studios was called Mandi where under the artists worked
- A goup of artists worked under supervision
- Ruknuddin, Ibrahim and Nathu worked in these studios
- court archivist entered painting and the artist name on the back
- This resulted with inscribing the work of students
- artists would use finishing touches for painting so Gudarayi used the word to lift
- studio had a task to amek minis, repair makals
- artist has his own bikaner school and there are portraits too
Kishangarh School of Painting
- Is the widely held of the all the state
- It’s all characterised
- Kishangarh state was founded by Kidhan Singh in 1609
- Artists were employed for Kishangarh and the place was known for humans making lavish landscapes for green colours
Jodhpur School of Painting
- Political presence Mughals made way on style
- the indigenrous style was deeplt embedded and resisted illustrated
- One was the ragamala style by vijri 1623
- Was a period of jaswant singh 1638
- The documented court scenes of jaswant can be found
- there would be many of the Bhagvata Purana of krishnas themes
- his successsor Ajit singhj can be found in the legend
- jodhpur palinting had the singficiant sets
- the artist employed Ramayana and the insight to see and depict
- that way everything got togtehr in the sccences
Jaipur School of Painting
- The Japiur had some state where it orginzed from its Mughal capitals from agra dheli from earliest relation with Mughal Emperors
- Raja Bharmal marries daugher to Akabar
- Sawai Jai singsh the city that shiftd from amer and jaipurs were found
- The places were all stored
Jaipur Art
- Depict scenes of theme based on radha kirstna and artises in that era was painted bsaed on Rasik and giti and the king figure
- Sawai Ishwari extends the patroanfe of arts and sports
- MAdho was attracted to get the court life recorded
- In the 18th century satai pratap Singh the mughal influenced recede
- 50 artistis where here
- there are different ways of printing but they used the size of gold
Bhagvata Painting
- Illustrating scenes from Bhagavatas Purana depecting the life, been popular
- In national mueueusm delehi killing demons
- in mawa style, all carefuly orgraned scene for each episode
- festitvies found
Maru Ragini
- Specif set ragamala from meter
- bears creucal docuemtn
- its an inscription meaning the beauty and its elvef
- sambi the wriotter of sahibdi
- in the the the way the style as been painted
- marui had a son and the bllosd marus ballad
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