when is the rajasthani painting style considered to have started
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Art of Rajasthan
Art of Rajasthan
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, attributed to Nihal Chand, a master of the Kishangarh miniature school trained at the imperial court in Delhi.[1]
Apart from the architecture of Rajasthan, the most notable forms of the visual art of Rajasthan are architectural sculpture on Hindu and Jain temples in the medieval era, in painting illustrations to religious texts, beginning in the late medieval period, and post-Mughal miniature painting in the Early Modern period, where various different court schools developed, together known as Rajput painting. In both cases, Rajasthani art had many similarities to that of the neighbouring region of Gujarat, the two forming most of the region of "Western India", where artistic styles often developed together.[2]
Architecture[edit]
Interior of Jain Luna Vasahi temple at Dilwara, Mount Abu, 1230 and later, with typical "flying arches".
Main article: Architecture of Rajasthan
The architecture of Rajasthan has usually been a regional variant of the style of Indian architecture prevailing in north India at the time. Rajasthan is especially notable for the forts and palaces of the many Rajput rulers, which are popular tourist attractions.
Most of the population of Rajasthan is Hindu, and there has historically been a considerable Jain minority; this mixture is reflected in the many temples of the region. Māru-Gurjara architecture, or "Solaṅkī style" is a distinctive style that began in Rajasthan and neighbouring Gujarat around the 11th century, and has been revived and taken to other parts of India and the world by both Hindus and Jains. This represents the main contribution of the region to Hindu temple architecture. The Dilwara Jain Temples of Mount Abu built between the 11th and 13th centuries CE are the best-known examples of the style.
The Adhai Din Ka Jhonpra mosque in Ajmer (no longer in religious use) is an important early example of Indo-Islamic architecture in a state not otherwise notable for this; though the Ajmer Sharif Dargah is another early building. However, there is considerable influence from Mughal architecture in palaces and houses, and Rajasthan has some claim to have sent influence back in elements like the enclosed balcony and open pavilions.
Monumental sculpture[edit]
Māru-Gurjara architecture, or the "Solaṅkī style" features large amounts of sculpture, with the emphasis usually on great numbers of small, sharply-carved figures, rather than larger single figures or groups. These include friezes with repeated figures of animals, sometimes with human riders, running around the bases of temples.
Durga on the Ambika Mata temple in Jagat, by 960
Wall below the shikhara, Sun Temple, Modhera, 1020s
Kiradu temples
Detail of the Jain Kirti Stambha tower, Chittor Fort
Medieval painting[edit]
The birth of Mahavira, from the (c. 1375–1400 CE)
Jain temples and monasteries had mural paintings from at least 2,000 years ago, though pre-medieval survivals are rare. In addition, many Jain manuscripts were illustrated with paintings, sometimes lavishly so. In both these cases, Jain art parallels Hindu art, but the Jain examples are more numerous among the earliest survivals. The manuscripts begin around the 11th century, but are mostly from the 13th onwards, and were made mainly in Gujarat, with some in Rajasthan. By the 15th-century they were becoming increasingly lavish, with much use of gold.[3]
The manuscript text most frequently illustrated is the , containing the biographies of the Tirthankaras, notably Parshvanatha and Mahavira. The illustrations are square-ish panels set in the text, with "wiry drawing" and "brilliant, even jewel-like colour". The figures are always seen in three-quarters view, with distinctive "long pointed noses and protruding eyes". There is a convention whereby the more distant side of the face protrudes, so that both eyes are seen.[4]
Būndi painting
Rājasthānī painting, the style of miniature painting that developed mainly in the independent Hindu states of Rājasthān in western India in the 16th–19th century. It evolved from Western Indian manuscript illustrations, though Mughal influence became evident in the later years of its development. Rājasthānī painting differs from the Mughal painting of the imperial ateliers at Delhi and the provincial courts in its bolder use of colour, an abstract and conventionalized conception of the human figure, and an ornamental treatment of landscape. In keeping with the new wave of popular devotionalism within Hinduism, the subjects principally depicted are the legends of
Rājasthānī painting
Rājasthānī painting
Written and fact-checked by The Editors of Encyclopaedia Britannica
Last Updated: Article History
Date: 1500 - 1825
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Rājasthānī painting, the style of miniature painting that developed mainly in the independent Hindu states of Rājasthān in western India in the 16th–19th century. It evolved from Western Indian manuscript illustrations, though Mughal influence became evident in the later years of its development.Rājasthānī painting differs from the Mughal painting of the imperial ateliers at Delhi and the provincial courts in its bolder use of colour, an abstract and conventionalized conception of the human figure, and an ornamental treatment of landscape. In keeping with the new wave of popular devotionalism within Hinduism, the subjects principally depicted are the legends of the Hindu cowherd god Krishna and his favourite companion, Rādhā. To a lesser extent there are illustrated scenes from the two major epics of India, the musical modes (rāgamālās), and the types of heroines (nāyikās). In the 18th century, court portraits, court scenes, and hunting scenes became increasingly common.
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Like Mughal art, Rājasthānī paintings were meant to be kept in boxes or albums and to be viewed by passing from hand to hand. The technique is similar to that of Mughal painting, though the materials are not as refined and sumptuous.
The study of Rājasthānī painting is comparatively young, and new material is continually being uncovered. Distinct schools have been separated out on the basis of style, such as Mewār painting, Būndi painting (qq.v.) and that of its neighbouring sister state of Kotah, Kishangarh painting (q.v.), Bīkaner, Jaipur, Mārwār, and, outside Rājasthān proper, Mālwa painting (q.v.), also referred to as Central Indian painting.
Krishna
Krishna
Hindu deity
Alternate titles: Kṛṣṇa
Written and fact-checked by The Editors of Encyclopaedia Britannica
Last Updated: Article History
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Krishna
Krishna, Sanskrit Kṛṣṇa, one of the most widely revered and most popular of all Indian divinities, worshipped as the eighth incarnation (avatar, or avatara) of the Hindu god Vishnu and also as a supreme god in his own right. Krishna became the focus of numerous bhakti (devotional) cults, which have over the centuries produced a wealth of religious poetry, music, and painting. The basic sources of Krishna’s mythology are the epic Mahabharata and its 5th-century-CE appendix, the Harivamsha, and the Puranas, particularly Books X and XI of the Bhagavata-purana. They relate how Krishna (literally “black,” or “dark as a cloud”) was born into the Yadava clan, the son of Vasudeva and Devaki, who was the sister of Kamsa, the wicked king of Mathura (in modern Uttar Pradesh). Kamsa, hearing a prophecy that he would be destroyed by Devaki’s child, tried to slay her children, but Krishna was smuggled across the Yamuna River to Gokula (or Vraja, modern Gokul), where he was raised by the leader of the cowherds, Nanda, and his wife Yashoda.The child Krishna was adored for his mischievous pranks; he also performed many miracles and slew demons. As a youth, the cowherd Krishna became renowned as a lover, the sound of his flute prompting the gopis (wives and daughters of the cowherds) to leave their homes to dance ecstatically with him in the moonlight. His favourite among them was the beautiful Radha. At length, Krishna and his brother Balarama returned to Mathura to slay the wicked Kamsa. Afterward, finding the kingdom unsafe, Krishna led the Yadavas to the western coast of Kathiawar and established his court at Dvaraka (modern Dwarka, Gujarat). He married the princess Rukmini and took other wives as well.
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Krishna refused to bear arms in the great war between the Kauravas (sons of Dhritarashtra, the descendant of Kuru) and the Pandavas (sons of Pandu), but he offered a choice of his personal attendance to one side and the loan of his army to the other. The Pandavas chose the former, and Krishna thus served as charioteer for Arjuna, one of the Pandava brothers. On his return to Dvaraka, a brawl broke out one day among the Yadava chiefs in which Krishna’s brother and son were slain. As the god sat in the forest lamenting, a huntsman, mistaking him for a deer, shot him in his one vulnerable spot, the heel, killing him.
Krishna’s personality is clearly a composite one, though the different elements are not easily separated. Vasudeva-Krishna was deified by the 5th century BCE. The cowherd Krishna was probably the god of a pastoral community. The Krishna who emerged from the blending of these figures was ultimately identified with the supreme god Vishnu-Narayana and, hence, considered his avatar. His worship preserved distinctive traits, chief among them an exploration of the analogies between divine love and human love. Thus, Krishna’s youthful dalliances with the gopis are interpreted as symbolic of the loving interplay between God and the human soul.
GK Questions and Answers on the Rajasthani Style of Paintings
10 GK Questions and Answers on the Rajasthani Style of Paintings, which will be helpful for the aspirants of the competitive exams like UPSC/PCS/SSC/CDS etc.
GK Questions and Answers on the Rajasthani Style of Paintings
Rajasthani Style of Paintings has significant role in the expansion of the Indian art. One of the most innovative and significant example of Rajasthani art treasures is the world of miniature painting. In this article, we are giving 10 GK Questions and Answers on the Rajasthani Style of Paintings, which will be helpful for the aspirants of the competitive exams like UPSC/PCS/SSC/CDS etc.
Shakeel Anwar Updated: Mar 1, 2019 18:10 IST
GK Questions and Answers on the Rajasthani Style of Paintings
Indian paintings have their origin in our ancient past. The artists of the Indian painting are highly influence with religion, philosophy and faith. Rajasthani Style of Paintings has significant role in the expansion of the Indian art. One of the most innovative and significant example of Rajasthani art treasures is the world of miniature painting.
1. Consider the following statementI. The Prakrit style of painting developed in the form of Rajasthani paintings.
II. Krishna-Lila, Nayika-Bheda and Ragmala are associated with Rajasthani paintings.
Which of the above statement (s) is/are related to the Rajasthani Style of Paintings?
A. Only I B. Only II C. Both I and II D. Neither I nor II
Ans: CExplanation: The Rajasthani styles of paintings are inspired by the Bhakti movement of Medieval India and Hinduism, the Prakrit style developed in the form of Rajasthani paintings. The themes of paintings are always inclined to Hinduism and legends like Krishna-Lila, Ramayana, Bhagavata, Devi-Mahatmya and Ragamala. Hence, C is the correct option.2. Which of the following Rajasthani style of painting is basically a fusion of Mughal and regional style?A. Kishangarh Style B. Mewar Style C. Jodhpur Style D. Bikaner Style
Ans: AExplanation: Kishangarh style of painting is basically a fusion of Mughal and regional style. The most common theme of this style consisted of the depiction of the love between Krishna and Radha. Hence, A is the correct option.3. Which of the following Rajasthani style of painting is the best known for its Bani Thani paintings?A. Mewar Style B. Kishangarh Style C. Jodhpur Style D. Bikaner Style
Ans: BExplanation: Kishangarh Style of Painting is best known for its Bani Thani paintings. Bani Thani refers to the Indian miniature painting which portrays a woman who is elegant and graceful. Hence, B is the correct option.4. Which of the following Rajasthani style of painting resembles the Chaurapanchsika style?A. Mewar Style B. Kishangarh Style C. Jodhpur Style D. Bikaner Style
Ans: AExplanation: Mewar school of Rajasthani paintings are concentrated on its conservative style, trying to avoid the dominance of the Mughal. The flatness, bright colours, and several common motifs showed marked resemblance with the Chaurapanchasika style. Hence, A is the correct option.5. Match the followingSet I a. Alwar Style b. Mewar Style c. Bikaner Style d. Kota Style Set II
1. Raja Pratap Singh
2. Manohar 3. Ram Lal 4. Jagat Singh Code: a b c d A. 1 2 3 4 B. 4 3 2 1 C. 4 1 2 3 D. 1 4 3 2
Ans: AExplanation: The correct match is given below:Alwar Style-Raja Pratap Singh
Mewar Style- Manohar
Bikaner Style- Ram Lal
Kota Style- Jagat Singh
Hence, A is the correct option.
GK Questions and Answers on India’s culture and customs6. Consider the following statement (s).I. It was founded by Prince Rao Bika in 1488.
II. Bikaner style of paintings are different from other Rajasthani styles of painting because they are finer lines and a more reserved range of colours than what are typically present in Mughal artwork.
Which of the above statement (s) is/are related to the Bikaner style of paintings?
A. Only I B. Only II C. Both I and II D. Neither I nor II
Ans: CExplanation: The Bikaner style of painting is a Rajasthani style of Indian painting which was founded by Prince Rao Bika in 1488. The paintings are different from other Rajasthani styles of painting because they are finer lines and a more reserved range of colours than what are typically present in Mughal artwork. Hence, A is the correct option.7. Consider the following statement (s).I. Kota style painting is renowned for the portrayal of battles, hunting expeditions, marriages and other major political events.
II. Kota style painting is characterized by a fondness for lush vegetation, dramatic night skies, a distinctive way of depicting water by light swirls against a dark background, and vivid movement.
Which of the above statement (s) is/are related to the Kota style of paintings?
A. Only I B. Only II C. Both I and II D. Neither I nor II
Ans: A
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