The Rajasthani Schools of PaintingClass 12 Fine Arts NCERT Solutions
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Q1Exercise
In what ways do you think that the Western Indian manuscript painting tradition guided the developments of miniature painting traditions in Rajasthan?
Solution
The Western Indian manuscript painting tradition, particularly the Jain manuscript style, served as a foundational influence for the early development of miniature painting in Rajasthan. This guidance is most evident in the stylistic characteristics of the early Rajasthani schools.
- Stylistic Progression: The Malwa School, considered representative of the Hindu Rajput courts, demonstrates a clear stylistic progression from the Jain manuscripts. Its two-dimensional and simplistic visual language is a direct evolution of this earlier tradition.
- Composition and Form: Early Rajasthani paintings, like those from the pre-seventeenth century Mewar school, retained the direct approach, simpler compositions, and bold, indigenous styles characteristic of the Western Indian tradition. These paintings often featured flat backgrounds, strong outlines, and vibrant, pure colors, which were hallmarks of manuscript illumination.
- Continuity of Theme: While the themes expanded, the practice of illustrating religious and literary texts, a central feature of manuscript tradition, continued and became a cornerstone of Rajasthani miniature painting. The format of illustrating folios for a manuscript or an album is a direct continuation of this practice.
Therefore, the Western Indian manuscript tradition provided the basic visual vocabulary—flatness, bold lines, vibrant color schemes, and simple compositions—upon which the various schools of Rajasthan built and developed their own refined and diverse styles.
Q2Exercise
Describe different schools of Rajasthani paintings and give examples to support their characteristics.
Solution
The Rajasthani schools of painting refer to the diverse styles that flourished in the princely kingdoms of Rajasthan and parts of Madhya Pradesh between the sixteenth and nineteenth centuries. Each school developed unique characteristics.
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Mewar School: This is considered an early center of painting. The style evolved from a bold, indigenous form with vibrant colors, especially reds and yellows, to a more refined style after contact with the Mughals. Key artists like Sahibdin and Manohar created masterpieces such as the Ragamala series (1628) and illustrations for the Ramayana (1652).
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Bundi School: Remarkable for its excellent color sense and formal design. A distinct feature is the keen interest in depicting lush vegetation, varied flora, and wildlife. Feminine beauty is standardized with petite figures, round faces, and sharp noses. An example is the Chunar Ragamala (1591), which includes the painting Raga Dipak.
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Kota School: An offshoot of the Bundi school, Kota excels in the depiction of dynamic hunting scenes and animal chases. The style is spontaneous and calligraphic, with an emphasis on marked shading, especially around the eyes. Paintings from the reign of Umed Singh often show the king on hunting expeditions.
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Bikaner School: This school shows a strong Mughal influence due to its long association with the Mughal court, resulting in Mughal elegance and a subdued color palette. Artists from the Mughal atelier, like Ali Raza and Ruknuddin, were employed here. A unique practice was the establishment of studios called Mandi. An example is Krishna supporting Mount Govardhan by Shahadin (1690).
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Kishangarh School: This is among the most stylized Rajasthani schools, distinguished by its exquisite sophistication and a distinct facial type. This type features arched eyebrows, lotus-petal-shaped eyes, a sharp slender nose, and thin lips. The artist Nihal Chand is credited with creating this style, famously seen in the portrait of Bani Thani, who is depicted as Radha.
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Jodhpur School: Also known as the Marwar school, it retained a formidable indigenous folkish style despite Mughal influence. A productive period under Maharaja Jaswant Singh saw a rise in portraiture and court scenes. The popular romantic tale of Dhola-Maru was a favorite theme, depicted in many paintings from this school.
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Jaipur School: Originating in Amer, this school had a strong Mughal influence due to close political ties. It is known for large-format paintings and life-size portraits. Under Sawai Pratap Singh, a distinct Jaipur style emerged, blending Mughal and indigenous features. The painting The Hour of Godhuli is a classic example from this school.
Q3Exercise
What is Ragamala? Give examples of Ragamala paintings from various schools of Rajasthan.
Solution
Ragamala, literally meaning 'Garland of Ragas', is a series of paintings that provide pictorial interpretations of the classical Indian musical modes called ragas and raginis.
Concept of Ragamala:
- In Indian tradition, ragas are envisioned in divine or human form, often in romantic or devotional contexts.
- Each raga is associated with a specific mood, time of the day, and season.
- Ragamala paintings are typically arranged in albums containing 36 or 42 folios, organized into a system of 'families'.
- Each family is headed by a male raga (such as Bhairava, Malkos, Hindol, Dipak, Megha, and Shri), who has six female consorts called raginis.
The goal of the artist was to create a visual equivalent of the mood and essence of the musical mode described in accompanying verses.
Examples from Various Schools:
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Mewar School: An early dated set of Ragamala paintings was created in Chawand in 1605 by the artist Nisardin. Later, the master artist Sahibdin painted a notable Ragamala series in 1628. The painting Maru Ragini, from this set, is a famous example from the Mewar school.
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Bundi School: The Chunar Ragamala, dated 1591, is from the earliest phase of Bundi painting. A surviving folio from this set is the painting Raga Dipak, which portrays a couple in a chamber illuminated by lamps.
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Malwa School: The Malwa school also produced Ragamala sets. An example is a Ragamala painting by Madho Das from 1680. The painting Raga Megha from this school is a known work.
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Jodhpur School: One of the earliest sets from Jodhpur is a Ragamala set painted in Pali by the artist Virji in 1623.
Q4Exercise
Draw a map and label all schools of Rajasthani miniature paintings.
Solution
As a text-based AI, I cannot draw a map. However, I can provide a descriptive list of the major schools of Rajasthani miniature painting and their geographical locations within the region that roughly constitutes modern-day Rajasthan and parts of Madhya Pradesh.
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Mewar: Located in the south-central part of Rajasthan. Its main centers were Udaipur and Chawand.
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Bundi: Situated in the southeastern region of Rajasthan, known as Hadoti.
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Kota: Also in the southeastern Hadoti region, adjacent to Bundi. It was originally part of the Bundi kingdom.
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Jaipur: Located in the eastern part of Rajasthan. Its earlier capital was Amer.
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Bikaner: Situated in the arid northwestern region of Rajasthan.
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Kishangarh: A state located in the central part of Rajasthan, near present-day Ajmer.
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Jodhpur (Marwar): Located in the western part of Rajasthan, in the Marwar region.
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Malwa: This school is associated with a vast territory in Central India, corresponding to parts of modern-day Madhya Pradesh, rather than a single princely state.
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Sirohi: Located in the southern part of Rajasthan.
Q5Exercise
Which texts provided the content or theme for miniature paintings? Describe them with examples.
Solution
A rich body of literary and religious texts provided the primary content and themes for Rajasthani miniature paintings. These texts celebrated devotion, love, heroism, and the nuances of human emotions.
1. Vaishnava Texts and Lyrical Poetry:
- Bhagvata Purana: This was a favorite text across all schools. It narrates the life and divine plays (leela) of Krishna. The Malwa school painting depicting the Killing of Shaktasura is a classic example.
- Gita Govinda: Composed by Jayadeva in the twelfth century, this Sanskrit lyrical poem evokes shringara rasa (the erotic mood) by portraying the mystical love between Radha and Krishna. The Mewar painting Krishna and gopis in the forest illustrates a scene from this text.
- Rasikapriya: Written by Keshav Das in 1591, this text in Brajbhasha explores various emotive states between lovers, such as love, jealousy, and separation, using Radha and Krishna as the archetypal characters. The Bikaner painting Krishna Swinging and Radha in Sad Mood by Nuruddin is based on this text.
2. Treatises on Aesthetics and Poetics:
- Rasamanjari: Composed by Bhanu Datta in the fourteenth century, this Sanskrit treatise classifies heroes (nayakas) and heroines (nayikas) based on their age, traits, and emotional states. Though Krishna is not in the original text, painters introduced him as the ideal lover.
- Kavipriya: Another work by Keshav Das, its tenth chapter, the Baramasa, provides an evocative description of the twelve months of the year, linking seasons to human emotions. The Bundi painting Ashwin, Baramasa is an example.
- Bihari Satsai: Authored by Bihari Lal around 1662, this text comprises 700 verses of aphorisms and moralizing witticisms. It was largely painted at Mewar.
3. Epics and Romantic Ballads:
- The Ramayana and Mahabharata: These great Indian epics were favorites with all schools. Sahibdin's depiction of the Yuddha Kanda of Ramayana (Mewar, 1652) and Guman's Rama meets Members of his Family at Chitrakut (Jaipur, c. 1740-50) are notable examples.
- Dhola-Maru: This popular romantic ballad from the region's folklore was a favorite theme, especially in the Jodhpur school. The story of the prince Dhola and princess Maru escaping on a camel is a recurring image.