which style of painting flourished in the kingdoms of mewar and marwar in rajasthan?

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Rajput painting

Rajput painting

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An 18th-century Rajput painting by the artist Nihâl Chand.

, Mewar, ca. 1813

Rajput painting, also called Rajasthan painting, evolved and flourished in the royal courts of Rajputana in northern India, mainly during the 17th century. Artists trained in the tradition of the Mughal miniature were dispersed from the imperial Mughal court and developed styles also drawing from local traditions of painting, especially those illustrating the Hindu religious epics, the and .

Subjects varied, but portraits of the ruling family, often engaged in hunting or their daily activities, were generally popular, as were narrative scenes from the epics or Hindu mythology, as well as some genre scenes of unnamed people.

The colors were extracted from certain minerals, plant sources, and conch shells, and were even derived by processing precious stones. Gold and silver were used. The preparation of desired colors was a lengthy process, sometimes taking up to two weeks. Traditionally, fine brushes were the norm.[]

Content[edit]

While there exist a plethora of themes in Rajput paintings, a common motif found throughout Rajput works is the purposeful manipulation of space. In particular, the inclusion of fuller spaces is meant to emphasize a lack of boundaries and inseparability of characters and landscapes. In this way, the individuality of physical characters is almost rejected, allowing both the depicted backgrounds and human figures to be equally expressive.[]

Outside of a purely artistic standpoint, Rajput paintings were often politically charged and commented on social values of the time. Mewar rulers wanted these painting to portray their ambitions and establish their legacy. Therefore, paintings were often indicative of a ruler's legacy or their changes made to better society.[]

Both of these factors clearly distinguish Rajput paintings from Mughal works. While from a chronological standpoint, both of these cultures clashed with one another, Rajput paintings only superficially adopted Mughal fashion and cultural standards. Elements such as precise likenesses in portraiture, utilized by popular Mughal artists (e.g., Govhardhan, Hashim, etc.), are not found in Rajput work. Likewise, Rajput techniques are not predominantly seen in Mughal paintings. As art historian Milo Beach puts it, "at the opening of the eighteenth century, ... Rajput painting remains recognizably different in intent from traditional Mughal attitudes".[1]

Schools[edit]

, might be the work of Nihâl Chand, a master of the Kishangarh school trained at the imperial court in Delhi.[2]

In the late 16th century, Rajput art schools began to develop distinctive styles, combining indigenous as well as foreign influences such as Persian, Mughal, Chinese and European.[3] Rajasthani painting consists of four principal schools that have within them several artistic styles and substyles that can be traced to the various princely states that patronised these artists. The four principal schools are:

The Mewar school, with the Chavand, Nathdwara, Devgarh, Udaipur and Sawar styles of painting

The Marwar school, with the Kishangarh, Bikaner, Jodhpur, Nagaur, Pali and Ghanerao styles of painting

The Hadoti school, with the Kota, Bundi and Jhalawar styles of painting

The Dhundar school, with the Amber, Jaipur, Shekhawati and Uniara styles of painting.

See also[edit]

Main centres

Dalchand, an 18th-century Rajput artist

Mughal painting Tanjore painting Sikh art

Notes[edit]

^ Beach, 175^ "Krishna and Radha". Philadelphia Museum of Art. Retrieved 26 October 2018.^ Neeraj, Jai Singh (1991). . New Delhi: Abhinav Publications. p. 13. ISBN 9788170172673.

References[edit]

Beach, M, (1992). 1700–1800: The Dominance of Rajput Painting. In (The New Cambridge History of India, pp. 174–213). Cambridge: Cambridge University Press. doi:10.1017/CHOL9780521400275.008

Kossak, Steven. (1997). Metropolitan Museum of Art. ISBN 0870997831

Further reading[edit]

. by Andrew Topsfield, Pankaj Shah, Government Museum, Udaipur. Mapin, 1990. ISBN 094414229X.

, by Jai Singh Neeraj. Abhinav Publications, 1991. ISBN 81-7017-267-5.

स्रोत : en.wikipedia.org

Rajasthani School of Painting

The Rajasthani School of painting is deeply rooted in the Indian traditions, taking inspiration from Indian epics, religious texts like the Puranas

Rajasthani School of Painting

The Rajasthani School of painting is deeply rooted in the Indian traditions, taking inspiration from Indian epics, religious texts like the Puranas, love poems in Sanskrit and other Indian languages, Indian folk-lore and works on musical themes.

This school of painting had influence in Rajasthan and parts of Madhya Pradesh in the present time, such as Mewar, Bundi, Kota, Jaipur, Bikaner, Kishangarh, Jodhpur (Marwar), Malwa, Sirohi and other such principalities largely between the sixteenth and early nineteenth centuries.

Salient features of Rajasthani paintings

This style of painting is deeply rooted in Indian traditions

The cults of Vaishnavism, Saivism and Saktiexercised tremendous influence on the pictorial art of this school

Various cults of Krishna provided a very rich field to the painter who with his artistic skill and devotion made a significant contribution to the development of Indian painting.

The Rajasthani School of painting is marked by bold drawing, strong and contrasting colors.

The treatment of figures is flat without any attempt to show perspective in a naturalistic manner.

Sometimes the surface of the painting is divided into several compartments of different colours in order to separate one scene from another.

Mughal influence is seen in the refining of drawing and some element of naturalism introduced in figures and trees.

Apart from depicting stories from the Ramayana and the royal lifestyle of kings and queens were also depicted

They also portrayed social values and the changes introduced by kings for the betterment of society. The background of the paintings formed a special feature of the Rajasthani School.

Paper, ivory and silk was used as their canvas in this school of painting

Bundi school of painting

This style of painting is dated back to 1625 AD

A painting showing Bhairavi Ragini, in the Allahabad Museum is one of the earliest examples of Bundi painting.

Themes from the life of Krishna is a major theme in this school of painting

Example for the above is, Rasikapriya of the late 17th century, which has a scene which represents Krishna trying to collect butter from a Gopi, but finding that the pot contains a piece of cloth and some other objects and no butter he rea1ises that he has been duped by the Gopi. In the background are trees and in the foreground is a river indicated with wavy lines. In the river are seen flowers and a pair of aquatic birds. The painting has a border in brilliant red colour. 

Figure: Bundi School of painting

The salient characteristic of this school of painting is the rich and glowing colours, the rising sun in golden colour, crimson-red horizon, overlapping and semi-naturalistic trees

The Mughal influence is visible in the refined drawing of the faces and an element of naturalism in the treatment of the trees. The text is written in black against yellow background on the top.

Malwa School of painting:

It 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 centre for its origin and instead suggests a vast territory of Central India. This conservative style disappeared after the close of the 17th century.

Salient features of this form of paintingMalwa paintings show a fondness for rigorously flat compositions, black and chocolate-brown backgrounds, figures shown against a solid colour patch, and architecture painted in lively colour.

The school’s most appealing features are a primitive charm and a simple childlike vision.

The earliest work in this style is an illustrated version of the Rasikapriyā(1634), followed by a series illustrating a Sanskrit poem called the Amaru Śataka (1652).

There are also illustrations of the musical modes (Ragamala), the Bhagavata-Puraṇa, and other Hindu devotional and literary works.

Figure: Ravana begging sita for Alms, Malwa, Rajasthan School of paintingMewar school of painting

Mewar painting is one of the most important schools of Indian miniature painting of the 17th and 18th centuries. It is a school in the Rajasthani style and was developed in the Hindu principality of Mewar (in Rajasthan state).

Salient features of this school of painting

The works of the school are characterized by simple bright colour and direct emotional appeal.

स्रोत : www.insightsonindia.com

Rajasthani School of Painting/ Rajput Paintings

The term 'Rajasthani Schools of Painting' refers to the schools of painting that flourished between the sixteenth and early nineteenth centuries.

Rajasthani School of Painting/ Rajput Paintings - Art and Culture Notes

Patil Amruta Mar 10, 2023

The term 'Rajasthani Schools of Painting' refers to the schools of painting that flourished between the sixteenth and early nineteenth centuries in the princely kingdoms and thickens of what is now roughly Rajasthan and parts of Madhya Pradesh, such as Mewar, Bundi, Kota, Jaipur, Bikaner, Kishangarh, Jodhpur (Marwar), Malwa, Sirohi, and other such principalities. This article will explain to you the concepts related to the Rajasthani School of Painting which will be helpful in Indian Art and Culture preparation for the UPSC Civil service exam.

Table of Contents

Rajasthani School of Painting

Features Mewar school Kishangarh school Bundi school Amber-Jaipur School Marwar School Conclusion FAQs MCQs Rajasthani

Rajasthani School of Painting

Since the Rajputs were the main ruling class at the time and patronised most of the artists, the Rajasthani School of Painting is more or less synonymous with the Rajput School of Painting.

Rajput courts began to patronise painting in imitation of Mughal court practices. Furthermore, the presence of painters from the Mughal atelier in Bikaner, Jodhpur, or Kishangarh sowed the roots of local Rajput schools.

Others claim that the Deccan sultanates' flood of artists and artworks played a major impact. Others argue that local and indigenous artistic traditions existed before Mughal influence arrived in certain cities.

Rajasthani paintings are divided into various sub-genres, each of which is named for the princely state in which they were created.

Mewar schoolKishangarh schoolBundi schoolAmber-Jaipur SchoolMarwar School

Other Relevant Links

Prehistoric Paintings Mural Paintings in India

Ragamala Paintings Pahari School of Painting

Miniature Paintings in India Modern Indian Painting

Tribal painting of India Rajput painting

Features

Rajasthani School of Painting - Features

This painting technique has profound roots in Indian culture.

The cults of Vaishnavism, Shaivism, and Sakti had a significant impact on this school's pictorial art.

The various Krishna cults provided a highly rich canvas for the painter, who made a great contribution to the development of Indian painting with his creative skill and commitment.

Bold lines and powerful, contrasting colors are hallmarks of the Rajasthani School of painting.

Figures are shown flat, with little attempt to depict perspective in a naturalistic fashion.

To distinguish one scene from another, the painting's surface is sometimes divided into many compartments of different colors.

The influence of the Mughals can be observed in the refinement of drawing and the introduction of some naturalism in figures and trees.

Aside from displaying episodes from the Ramayana and the regal lifestyle of kings and queens, they also highlighted societal values and the improvements that monarchs made for the good of society. The Rajasthani School's paintings were distinguished by their backgrounds.

This school of painting used paper, ivory, and silk as its canvas.

Raasthani School of Paintings

Mewar

Mewar school of painting

Mewar monarchs appear to have patronized art, while the years of relative peace and prosperity saw an unprecedented efflorescence.

The remarkable figure of Sahibdin dominates early Mewar paintings.

The Rasikapriya, the Ramayana, and the Bhagavata Purana are all shown by Sahibdin during this period of Mewari art.

The style of Mewar paintings shifted after Sahibdin's death. The majority of the paintings showed life in Mewar's courts.

The remarkable 'tamasha' paintings, which depict court rituals and city views in unprecedented detail, are a highlight of this period.

Mewar School of Painting

Kishangarh

Kishangarh school of painting

The most romantic legends - Sawant Singh and his lover Bani Thani – and the merging of life and mythology, romance and bhakti are all shown in Kishangarh's paintings.

They also painted a lot about Radha and Krishna's spiritual and romantic relationships.

Kishangarh School of Painting

Bundi

Bundi school of painting

Hadoti is the name given to the twin kingdoms of Bundi and Kota. The sister republics, which were founded by splitting the elder Bundi kingdom between two brothers, have histories and artistic traditions that are inextricably linked.

The monarchs of Bundi and Kota have devoted Krishna believers, and in the 18th century, they declared themselves to be mere regents, ruling on behalf of the god who was the genuine king (similar worship patterns can also be seen in Udaipur and Jaipur).

स्रोत : prepp.in