Test: The Rajasthani Schools of Painting- 2 - Humanities/Arts MCQ

Mewar painting in the eighteenth century increasingly became secular and courtly in ambience.

The Bundi School of Painting is known for its unblemished colour sense and excellent formal design.

Budh Singh is known to have encouraged the art of painting in Bundi despite having lost his kingdom four times.

The Kota School of Painting excels in the depiction of hunting scenes.

The Kota School of Painting commenced around 1660s in the reign of Jagat Singh.

The distinct feature of Bundi and Kota School of Painting is a keen interest in the depiction of lush vegetation; picturesque landscape with varied flora, wildlife and birds; hills and thick jungles; and water bodies.

Raga Dipak is portrayed in a night setting in a Bundi painting, seated with his beloved in a chamber that is warmly illuminated by flames from the four lamps.

The Kishangarh School of Painting is known for its 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.

According to inscriptional evidence, Ustad Ali Raza was employed by Karan Singh and his earliest work represents the beginnings of the Bikaner School, which can be dated back to around 1650.

A trend for documentary painting through portraiture and depiction of court life started under his patronage around 1640 and enjoyed prominence till the advent of photography in the nineteenth century when it substituted painting for recording events.
 

On the completion of a painting, the court archivist entered the name of the master artist and the date behind the painting.

Illustrating scenes from the Bhagvata Purana, depicting different scenes from the life of Lord Krishna and his leela, have been a popular theme throughout the medieval period for artists. This painting from the collection of National Museum, New Delhi, shows the killing of demon Shaktasura by Krishna.

Sawai Jai Singh was drawn to the Vaishnavite sect and commissioned numerous paintings on the theme of Radha and Krishna.

The painting of Rama meeting members of his family at Chitrakut is a classic example of a continuous narrative. The story begins from the left and ends on the right, with each character labeled and a verse inscribed on the upper portion of the painting.

The painting of Rama meeting members of his family at Chitrakut was made by Guman between 1740 and 1750, and is a classic example of a continuous narrative.