Rajasthani Schools of Paintings

Rajasthani Schools of Paintings

Learn about the distinct regional styles of Rajasthani Schools of Paintings, including Marwar, Mewar, and other schools that shaped Indian art during the Rajput period.

• Rajasthani Schools of Painting
  • The term refers to the schools of painting from princely kingdoms like Mewar, Bundi, Kota, Jaipur, Bikaner, Kishangarh, Jodhpur, Malwa, Sirohi, and other areas of Rajasthan and Madhya Pradesh.
  • Time Period: Predominantly between the sixteenth and early nineteenth centuries.

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  • Anand Coomaraswamy coined the term 'Rajput Paintings' in 1916 to differentiate them from the Mughal School of Painting.
  • The term 'Rajput Schools' is now considered obsolete, replaced by 'Rajasthani' and 'Pahari' classifications.
  • Characteristics of these paintings varied across regions:
    • Execution styles (fine or bold)
    • Preference for colors (brilliant or gentle)
    • Compositional elements (architecture, figures, nature)
    • Modes of narration and naturalism
• Materials and Techniques
  • Paintings were made on waslis, layered handmade paper glued together for thickness.
  • Sketch outlines were done in black or brown, with colors fixed using notations or sample patches.
  • Pigments were derived from minerals and precious metals like gold and silver, mixed with glue.
  • Brushes were made from camel and squirrel hair.
  • Paintings were burnished with agate for uniform sheen and resplendence.
• Artistic Process
  • Teamwork:
    • Master artist handled composition and preliminary drawings.
    • Pupils or experts worked on coloring, portraiture, landscapes, architecture, etc.
    • Master artist applied finishing touches.
  • Scribes added verses in designated spaces.
• Themes of Paintings
  • Bhakti movement themes featuring Rama and Krishna were popular.
    • Krishna depicted as both God and ideal lover.
    • Radha represented the human soul offering devotion to Krishna.
  • Texts inspiring paintings:
    • Gita Govinda: Twelfth-century lyrical poem by Jayadeva depicting Radha and Krishna's mystical love.
    • Rasamanjari: Fourteenth-century Sanskrit text by Bhanu Datta on hero and heroine classifications.
    • Rasikapriya: Composed by Keshav Das in 1591, exploring emotive states of love and relationships.
    • Kavipriya: Also by Keshav Das, focused on love, seasons, and festivals.
    • Bihari Satsai: Seventeenth-century aphorisms and moralistic verses by Bihari Lal, often illustrated in Mewar and Pahari styles.
  • Other themes:
    • Ragamala paintings based on musical ragas and raginis.
    • Bardic legends and romantic tales like Dhola-Maru and Sohni-Mahiwal.
    • Epic and religious texts: Ramayana, Mahabharata, Bhagvata Purana, etc.
    • Depictions of darbar scenes, historical moments, hunting expeditions, festivals, and portraits.

Malwa School of Painting

• Malwa School of Painting
  • The Malwa School flourished between 1600 and 1700 CE and represents the Hindu Rajput courts.
  • Characterized by a two-dimensional simplistic style, it reflects a progression from Jain manuscripts to Chaurpanchashika manuscript paintings.
  • Unlike other Rajasthani schools, the Malwa School does not have a precise territorial center but is linked to a broad region of Central India, including:
    • Mandu
    • Nusratgarh
    • Narsyang Sahar
• Notable Works
  • Amaru Shataka (1652 CE): An illustrated poetic text.
  • Ragamala Painting by Madho Das (1680 CE): A key artwork from this period.
  • A significant collection of Malwa paintings was found in the Datia Palace in Bundelkhand.
• Distinct Features
  • Paintings on paper display two-dimensional austerity.
  • Mural paintings in Datia Palace lack Mughal influence, distinguishing them from works on paper.
  • The absence of:
    • Mention of patron kings.
    • Portraits in the artworks.
    Suggests that paintings were created by traveling artists who sold works on popular themes, such as:
    • Ramayana
    • Bhagvata Purana
    • Amaru Shataka
    • Rasikapriya
    • Ragamala
    • Baramasa
• Context of Indian Painting
  • Mughal School: Dominated Indian art from the sixteenth century, centered in courts like Delhi, Agra, Fatehpur Sikri, and Lahore.
  • Provincial Mughal Schools: Evolved through a blend of Mughal and local styles under wealthy governors.
  • Deccani School: Flourished in regions like Ahmednagar, Bijapur, Golconda, and Hyderabad starting in the sixteenth century.
  • Rajasthani Schools: Gained prominence in the late sixteenth and early seventeenth centuries.
  • Pahari School: Emerged in the late seventeenth and early eighteenth centuries.

Mewar School of Painting

• Mewar School of Painting
  • Mewar is conjectured to be an early centre of painting in Rajasthan, forming a stylistic tradition from pre-seventeenth century indigenous styles to refined styles post-Karan Singh’s contact with the Mughals.
  • Most early examples were lost due to long wars with the Mughals.
  • The emergence of the Mewar School is widely associated with an early set of Ragamala paintings created in 1605 by artist Nisardin at Chawand.
  • This set shares a visual aesthetic with pre-seventeenth century paintings, characterized by:
    • Direct approach
    • Simpler compositions
    • Sporadic decorative details
    • Vibrant colors
• Reign of Jagat Singh I (1628–1652)
  • Pictorial aesthetics were reformulated under the influence of virtuoso artists Sahibdin and Manohar.
  • Sahibdin’s notable works:
    • Ragamala (1628)
    • Rasikapriya
    • Bhagvata Purana (1648)
    • Yuddha Kanda of Ramayana (1652)
  • Manohar’s significant work: Bal Kanda of Ramayana (1649).
  • Jagannath’s unique contribution: Bihari Satsai (1719).
  • Other texts illustrated in the late seventeenth century include Harivamsha and Sursagar.
• Yuddha Kanda by Sahibdin

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  • Yuddha Kanda (Book of Battles) is a part of the Ramayana set, popularly known as the Jagat Singh Ramayana, dated 1652.
  • Sahibdin introduces the use of oblique aerial perspective to depict the scale of war.
  • He uses various narrative techniques, such as:
    • Layering several episodes into a single painting.
    • Spreading a single episode across multiple folios.
  • This painting portrays Indrajit’s use of magic weapons and tactics in battle.
• Art in the Eighteenth Century
  • By the eighteenth century, painting in Mewar shifted away from textual representations and focused more on:
    • Royal court activities
    • Pastimes of the royals
  • Mewar artists began to favor a bright color palette with prominent reds and yellows.
  • Maharana Jagat Singh II’s portrait: A 1744 painting depicting him hawking, now housed in the Metropolitan Museum of Art, New York.
• Nathdwara School of Painting
  • Nathdwara, near Udaipur, emerged as a prominent Vaishnava center and a painting school in the late seventeenth century.
  • Large pichhwais (cloth paintings) were created for the deity Shrinathji, particularly for festive occasions.

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• Seventeenth and Eighteenth-Century Themes
  • During the eighteenth century, Mewar painting increasingly became:
    • Secular and courtly in nature.
    • Focused on subjects like:
      • Portraiture
      • Flamboyant court scenes
      • Hunting expeditions
      • Festivals
      • Zenana activities
      • Sports
  • A folio depicting Maharana Jagat Singh II (1734–1752) touring the countryside while hawking features:
    • An oblique view of the landscape.
    • Allows for a panoramic view of the limitless horizon.
    • Complex narration aiming at reportage.

Bundi School of Painting

• Bundi School of Painting: Overview
  • The Bundi School emerged as a prominent center of art in the seventeenth century, known for:
    • Its unblemished color sense.
    • Excellent formal design.
  • Bundi Ragamala (1591), painted at Chunar during the reign of Bhoj Singh (1585–1607), represents its formative phase.
• Key Patrons and Phases of Development
  • Major patrons included:
    • Rao Chattar Sal (1631–1659): Played a significant role in Bundi's art while serving as Governor of Delhi under Shahjahan.
    • Rao Bhao Singh (1659–1682): Promoted self-indulgent portraiture and innovative styles.
    • Aniruddha Singh (1682–1702) and Budh Singh: Encouraged artistic expression despite political upheavals.
    • Umed Singh (1749–1771): Oversaw a phase of refined detail and Deccani aesthetic influence.
  • Under Bishen Singh (1771–1821), hunting themes became prevalent, reflecting his personal interests.
  • During Ram Singh's rule (1821–1889), murals featuring royal processions, hunting, and Krishna stories adorned the Bundi palace's chitrashala.

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• Distinctive Features of Bundi and Kota Schools
  • Renowned for:
    • Lush depictions of vegetation, wildlife, and landscapes.
    • Realistic illustrations of hills, forests, and water bodies.
    • Exquisite equestrian portraits and unmatched drawings of elephants.
  • Artistic portrayal of feminine beauty, characterized by:
    • Petite figures with round faces.
    • Receding foreheads and sharp noses.
    • 'Pinched' waists and full cheeks.
• Bundi Ragamala and Early Artists
  • Bundi Ragamala inscriptions (1591) in Persian identify artists:
    • Shaykh Hasan, Shaykh Ali, and Shaykh Hatim.
    • Mentored by Mughal court masters Mir Sayyid Ali and Khwaja Abddus Samad.
  • Key folios include:
    • Raga Dipak: A nighttime depiction with glowing lamps and intricate storytelling.
    • Other notable ragas: Raginis Khambavati, Bilaval, Malashri, Bhairavi, and Patmanjari.
• Popular Themes in Bundi Paintings
  • Baramasa: Depicts the 12 months based on Keshav Das's Kavipriya, written for the courtesan Rai Parbin of Orchha.
  • Royal activities such as hunting, courtly pastimes, and Krishna legends became prominent in later phases.

Kota School of Painting

• Kota School of Painting
  • The Kota School of Painting emerged as an exceptional tradition influenced by the Bundi school.
  • Key features include:
    • Excellence in depicting hunting scenes and animal chase.
    • An atmosphere of excitement and a passion for wildlife.
• Historical Background
  • Kota was part of the Bundi kingdom until 1625, when Jahangir divided it.
  • The division occurred as a reward for Madhu Singh's bravery in defending Jahangir against his son, Prince Khurram (Shah Jahan).

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  • The Kota school began developing independently around the 1660s during the reign of Jagat Singh (1658–1683).
• Evolution of Style
  • In the early years, the paintings of Bundi and Kota were indistinguishable as Kota artists borrowed heavily from Bundi styles.
  • Differences emerged over time:
    • Non-conformity became apparent in exaggerated figures and architectural designs.
    • Kota's flair for drawing made its style uniquely recognizable.
• Key Developments
  • By Ram Singh I’s reign (1686–1708), Kota artists expanded their subjects, making landscape a focal theme.
  • During Umed Singh's rule (1770–1819), hunting scenes became central due to the king's obsession with wildlife and gaming.
  • Paintings served as records of royal hunting expeditions, sometimes involving court women.
• Characteristics of Kota Painting
  • Spontaneous and calligraphic execution, with emphasis on:
    • Marked shading, especially noticeable in the double-lid eye.
    • Exquisite rendering of animals and combat scenes.
  • Focused depiction of:
    • Lush landscapes as an integral element.
    • Dynamic and action-filled compositions.

Bikaner School of Painting

• Bikaner School of Painting
  • The Bikaner School emerged as a prominent tradition in Rajasthan, founded by Rao Bika Rathore in 1488.
  • Distinctive features include:
    • Influence of Mughal elegance and a subdued color palette.
    • An amalgamation of indigenous and Mughal styles.

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• Historical Development
  • Anup Singh (1669–1698) established a library in Bikaner, fostering manuscript and painting traditions.
  • Notable Mughal artists, such as Ustad Ali Raza, worked in Bikaner from around 1650, marking the school's early development.
• Key Artists and Contributions
  • Ruknuddin, a master artist during Anup Singh’s reign, blended Deccani and Mughal styles with local traditions.
  • Notable works by Ruknuddin:
    • Ramayana
    • Rasikapriya
    • Durga Satpsati
  • Other prominent artists included Ibrahim, Nathu, Sahibdin, and Isa.
• Studio Practices
  • Bikaner studios, called Mandis, were managed by master artists like Ruknuddin, Ibrahim, and Nathu.
  • Key activities in the studios included:
    • Creating new miniatures.
    • Repairing (marammat) and copying (nakals) older works.
    • Final touches by master artists, termed gudarayi or "lifting."
• Unique Features
  • Portraits of artists, referred to as Ustas or Ustad, were inscribed with their ancestry.
  • Ibrahim’s works were known for their:
    • Misty, dreamlike quality.
    • Dainty figures with heavily modeled faces.
  • Exquisite documentation in Marwari and Persian inscriptions provided:
    • Names of artists.
    • Dates and locations of production.
    • Occasions for commissioning artworks.

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• Significance
  • The Bikaner School stands out for its archival richness and distinctive style that blends elegance with tradition.
  • Examples of its art include Baramasa, Ragamala, and Rasikapriya paintings, which showcase the mastery of the Bikaner studios.

Kishangarh School of Painting

• Kishangarh School of Painting
  • Kishangarh miniatures are among the most stylized Rajasthani paintings, known for their exquisite sophistication.
  • Distinctive facial features include:
    • Arched eyebrows.
    • Lotus petal-shaped eyes tinged with pink and drooping eyelids.
    • A sharp, slender nose and thin lips.
• Historical Background
  • Kishan Singh, a son of the king of Jodhpur, founded Kishangarh in 1609.
  • By the mid-17th century, under the patronage of Man Singh (1658–1706), artists were active in the Kishangarh court.
• Key Characteristics
  • A distinct style evolved during the reign of Raj Singh (1706–1748), characterized by:
    • Elongation of the human form.
    • Lavish use of green in paintings.
    • Depiction of panoramic landscapes.
  • With Raj Singh’s association with the Pushtimargiya cult of Vallabhacharya, Krishna Lila themes became central to Kishangarh art.
• Notable Artists and Themes

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  • Sawant Singh’s reign (1735–1757) marked the peak of Kishangarh art, with Nihal Chand as the most celebrated artist.
  • Nihal Chand’s works featured:
    • Radha and Krishna as divine lovers in courtly surroundings.
    • Panoramic landscapes with vivid details and accentuated colors.
    • Illustrations based on Sawant Singh’s poetry.
• Artistic Excellence
  • Kishangarh artists excelled in creating vast, detailed landscapes.
  • Their use of vibrant colors and attention to detail made Kishangarh paintings unique and timeless.

Jodhpur School of Painting

• Jodhpur School of Painting
  • The Jodhpur School reflects a blend of Mughal influence and indigenous folkish styles.
  • Despite Mughal visual aesthetics influencing portraiture and court scenes, the deep-rooted folk traditions resisted dominance and remained prominent in illustrated paintings.

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• Early Works
  • One of the earliest known sets is a Ragamala series painted in Pali by artist Virji in 1623.
• Patronage of Maharaja Jaswant Singh (1638–1678)
  • Jaswant Singh initiated a productive phase in Jodhpur painting during the mid-17th century.
  • Key contributions under his patronage:
    • Documentary paintings focusing on portraiture and court life began around 1640.
    • Numerous portraits of Jaswant Singh survive, showcasing his patronage of art.
    • Influenced by the Vallabha cult of Shrinathji, many Krishna-themed paintings, particularly from the *Bhagvata Purana*, were created.
• Ajit Singh (1679–1724) and the Marwar Revival
  • Ajit Singh became king after a 25-year conflict with Aurangzeb, led by the legendary warrior Veer Durgadas Rathore.
  • Key highlights:
    • Durgadas’s heroism inspired poems and court paintings.
    • Equestrian portraits of Durgadas became popular during this period.
• Man Singh’s Reign (1803–1843): The Last Innovative Phase
  • Significant painting sets from this period include:
    • *Ramayana* (1804), depicting Rama's Ayodhya with local architecture, bazaars, and cultural settings of Jodhpur.
    • *Dhola-Maru*, *Panchatantra* (1804), and *Shiva Purana*.
  • Man Singh’s association with the Nath Sampradaya influenced art, leading to:
    • Paintings featuring Man Singh with Nath gurus.
    • A set of *Nath Charita* painted in 1824.
• Artistic Traditions and Documentation
  • Jodhpur paintings often integrated local architecture, costumes, and cultural aspects into depictions of Krishna, Rama, and other stories.
  • Unlike other schools, inscriptions on Marwar paintings rarely included dates, artist names, or locations until the 19th century.

Jaipur School of Painting

• Jaipur School of Painting
  • The Jaipur School originated in Amer, the former capital of Jaipur, due to its proximity to the Mughal capitals, Agra and Delhi.
  • Jaipur rulers maintained cordial relations with the Mughals, which heavily influenced the aesthetics of the region.
• Early Rulers and Mughal Influence
  • Raja Bharmal (1548–1575) strengthened ties with the Mughals by marrying his daughter to Akbar.
  • His son Bhagwant Das (1575–1592) was a close ally of Akbar, and his grandson, Man Singh, was Akbar's most trusted general.
• Sawai Jai Singh (1699–1743) and the Emergence of Jaipur School
  • Sawai Jai Singh, who established Jaipur as a new capital in 1727, played a crucial role in the development of Jaipur School.
  • Under his patronage:

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    • Mughal painters were brought from Delhi to work in his atelier.
    • He invited craftsmen and artists to settle in Jaipur and reorganized the Suratkhana (the place where paintings were made and stored).
    • His strong devotion to the Vaishnavite sect led to the commissioning of numerous Radha and Krishna-themed paintings.
    • Artists painted sets from texts like *Rasikapriya*, *Gita Govinda*, *Baramasa*, and *Ragamala*, with the hero often resembling the king in the artworks.
  • Portrait painting also flourished during his reign, with accomplished portrait painter Sahibram part of his atelier.
• Sawai Ishwari Singh (1743–1750) and His Contributions
  • Sawai Ishwari Singh continued the patronage of art and expanded it by commissioning paintings that depicted royal leisure pursuits.
  • Scenes of elephant rides, boar and tiger hunts, and elephant fights were captured in his time.
• Sawai Madho Singh (1750–1767) and Court Life Depictions
  • Sawai Madho Singh focused on commissioning paintings that depicted incidents from court life.
• Sawai Pratap Singh (1779–1803) and the Reformulated Aesthetic
  • Under Sawai Pratap Singh, the predominant Mughal influence receded, and a new Jaipur style emerged, blending Mughal and indigenous aesthetics.
  • This second thriving period saw Pratap Singh employ around 50 artists to work in his atelier.
  • Pratap Singh was a scholar, poet, prolific writer, and ardent follower of Krishna. His reign saw the renewal of religious and literary themes, such as:
    • *Gita Govinda*
    • *Ragamala*
    • *Bhagvata Purana*
  • Royal portraits and courtly splendor continued to be popular subjects.
• Late Eighteenth and Early Nineteenth Century Developments
  • By the early 19th century, the use of gold became lavish in Jaipur paintings, with large format and life-size portraits becoming popular.
  • Many artworks were produced by tracing and pouncing techniques, which helped create copies of popular pieces.

Illustrations Scenes from different Paintings

• Illustrating Scenes from the Bhagavata Purana

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  • This painting from the collection of National Museum, New Delhi, depicts the killing of the demon Shaktasura by Lord Krishna (1680–1690).
  • It is a typical example of Malwa style, where the space is carefully compartmentalized to narrate different scenes of the episode.
  • Scenes from the episode include:
    • Celebrations and festivities in the house of Nanda and Yashoda after Krishna's birth (lower left and upper middle sections).
    • Nanda and Yashoda are seen donating cows and calves to Brahmins and well-wishers (middle left and extreme right sections).
    • Delicious food is being prepared (central section).
    • Women hover over baby Krishna to safeguard him from the evil eye (upper left section).
  • The narrative concludes with Krishna toppling the cart demon, Shakatasura, with a gentle kick.
• Maru Ragini from Mewar

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  • This Ragamala painting is significant for its documentary evidence, featuring the artist Sahibdin and the patron Rana Shri Jagat Singh of Udaipur.
  • It depicts the consort of Raga Shri, Maru, as represented in the popular Dhola-Maru ballad.
  • The painting shows Dhola and Maru escaping together on a camel, symbolizing their struggle to unite amidst trials and tribulations.
• Equestrian Portrait of Aniruddha Singh

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  • This painting, attributed to artist Tulchi Ram and created in 1680, portrays Prince Aniruddha Singh on horseback.
  • It represents speed and motion by focusing on the horse galloping so high that the ground is not visible.
  • The painting is inscribed with the names of both Aniruddha Singh and Bharat Singh.
• Chaugan Play (Polo) by Dana

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  • Depicts a princess playing polo with companions, made by artist Dana during the reign of Man Singh of Jodhpur (1810).
  • The painting exhibits stylistic influences from various schools, including Mughal, Deccani, Bundi, and Kishangarh.
  • The painting is inscribed with a line that translates to, “Beautiful maidens on horseback, playing.”
• Krishna Swinging and Radha Sad Moo by Nuruddin

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  • This painting, created in 1683, illustrates the Rasikapriya and is attributed to the artist Nuruddin, who worked in Bikaner.
  • The composition features Krishna on a swing with a Gopi, while Radha, stricken with grief, disappears into the countryside.
  • Radha’s sakhi (friend) plays the role of a messenger, urging Krishna to reconcile with Radha.
• Bani Thani by Nihal Chand

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  • The painting of Bani Thani is attributed to artist Nihal Chand, depicting Radha in the unique and exaggerated Kishangarh style.
  • Bani Thani was the muse for poetry composed by Sawant Singh, who was deeply in love with her.
  • Her distinctive facial features—sharp eyes, arched eyebrows, and pointed nose—became the hallmark of Kishangarh art.
• Rama Meets Members of his Family in Ramayana by Guman
  • This painting, created between 1740 and 1750, is a continuous narrative from the Ramayana.

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  • It portrays the episode where Bharat, after the passing of King Dashratha, persuades Rama to return to Ayodhya.
  • The narrative unfolds from left to right, showing various interactions between Rama, his family, and sages in a rural setting.