The Manuscript Painting Tradition Chapter Notes | Fine Arts for Grade 12 PDF Download

Introduction

• Paintings from the medieval period have earned a generic name, for example miniature paintings, owing to their relatively smaller size. These miniature paintings were hand-held and observed from a closer distance due to their minutiae. The walls of a patron’s mansions were often decorated with mural paintings. Hence, these miniatures were never intended to be put up on the walls.
• A large section of paintings are appropriately referred to as manuscript illustrations as they are pictorial translations of poetic verses from epics and various canonical, literary, bardic or music texts (manuscripts), with verses handwritten on the topmost portion of the painting in clearly demarcated box-like space. Sometimes, one finds the text not in the front but behind the work of art.
• Manuscript illustrations were methodically conceived in thematic sets (each set comprising several loose paintings or folios). Each folio of painting has its corresponding text 
• inscribed either in the demarcated space on the upper portion of the painting or on its reverse. Accordingly, one would have sets of the Ramayana paintings, or Bhagavata Parana, or Mahabharata, or Gita Govinda, Ragamala, etc. Each set was wrapped up in a piece of cloth and stored as a bundle in the library of the king or patron.

Miniature Paintings in India - Historical Background

• The word ‘miniature’ is derived from the Latin word ‘Minimum’, which means red lead paint.
• This paint was used in illuminated manuscripts during the Renaissance period. It is generally confused with the word minimum, which would mean that they were small in size.
• The Indian subcontinent has long traditions of these miniature paintings and many schools have developed that have differences in composition and perspective. Miniatures are small and detailed paintings.
• The development of Indian miniature paintings began around the 17th century in the Western Himalayas.
• Mural paintings from the second half of the 18th century had a big influence on these works.
• The Hindu Rajas of Rajasthan and Muslim kings of the Deccan and Malwa sponsored the growth of miniature painting throughout the Mughal era.
• Persian tradition was brought into Indian miniature paintings by the Mughals.
  

Miniature Paintings in India - Features

• Miniatures are handcrafted paintings with a nice appearance. These paintings are vibrant, although they are little.
• The complicated and delicate brushwork that gives these paintings their individual identity is the best feature of them.
• Miniatures are painted using hand-mixed colors. Pure gold, silver, minerals, plants, valuable stones, indigo, and conch shells are the most common sources.
• There are various prerequisites that must be met in order to create miniature paintings.
• The painting should be no more than 25 square inches in size.
• The painting's subject should be portrayed at a scale of no more than 1/6th of its actual size.
• The human figurine is depicted with a side profile in the majority of Indian miniature paintings.
• Bulging eyes, a sharp nose, and a thin waist are common features.
• The skin color of the characters in Rajasthani miniatures is dark, but they are often paler in Mughal paintings.
• Furthermore, celestial entities such as Lord Krishna are blue in color.
• The female figurines have long hair, and their eyes and hair are almost always black.
• Men typically dress in traditional attire and wear turban on their heads.

Early Miniature

• They were frequently painted on perishable materials like paper, palm leaves, and fabric for books or albums.
• The art of miniature painting emerged between the 8th and 12th centuries, virtually as a reaction to the massive wall paintings.
• This style of painting can be seen in both the eastern and western parts of the country.
• There are two well-known schools.
  • Pala School of Art
  • Apabhramsa School of Art

Pala School of Art

• During the years 750-1150 AD, this school was thriving.
• These paintings were usually done on palm leaf or vellum paper and were found as part of manuscripts.
• They were largely utilized by Buddhist monks, and because their faith preaches nonviolence toward all living beings, only banana or coconut tree leaves were allowed.
• The background imagery is characterized by sinuous lines and subtle tones in these paintings.
• There are a lot of lonely single characters in the paintings, and group paintings are uncommon.
• They were patronized by several of kings who encouraged Buddhism because of their simple compositions.
• These paintings were also used and patronized by followers of the Vajrayana school of Buddhism.
  

Apabhramsa School of Art

• This school can be traced back to Gujarat and the Mewar region of Rajasthan.
• During the 11th to 15th centuries, it was the most popular painting style in western India.
• The Jain religion was the most prominent motif in these paintings, and the Vaishnava School adopted it afterward.
• They included the concept of Gita Govinda and secular love in these artworks, which had previously been dominated by Jain imagery.
• The paintings were done on a palm leaf in the early Jain period, but on paper in the later time.
• Despite the fact that the paintings were created as book illustrations, they did not have a distinct style; rather, they were mural paintings at a smaller scale.
• The colors employed in the paintings were mainly red, yellow, and ochre and they had symbolic value. They employed bright and gold colors in the final stages.
  

Miniature Paintings - Deccan

• The colors were applied flat, with the garment and human figures being delineated in black.
• The faces are viewed from a three-quarter angle, giving them a detached look.
• The landscapes are filled with trees, rocks, and other designs that do not attempt to mimic the subject's natural aspect.

Miniature Paintings - Delhi sultanate

• These paintings attempted to combine Persian motifs from their ancestors with Indian traditional components.
• They preferred pictorial manuscripts, and the Nimatnama (a book) written under the reign of Nasir Shah, who ruled over Mandu, is one of the best examples from this period. This book exemplifies the blending of indigenous and Persian styles.
• Apart from that, a style known as the Lodi Khuladar was popular at this time and was practiced in many of the Sultanate-controlled districts between Delhi and Jaunpur.
  

Miniature Paintings - Mughal Era

• Since they were influenced by Persian antecedents, Mughal paintings have a distinctive style.
• The color palette, motifs, and forms all changed. The emphasis changed away from representing the god and toward glorifying and showing the ruler's life.
• They concentrated on paintings depicting hunting scenes, historical events, and other court-related subjects.
• The Mughal paintings combined the realistic style of Persia with the grandeur of a vast empire to produce some stunningly illustrated folios.
• Due to the obvious bright colors used in these paintings, they have been deemed one-of-a-kind.
• The painters were meant to focus on making sure the line drawings were accurate.
• The Mughals were noted for their wide topics, which included religious art.
• Despite the fact that they only created miniature paintings, the illustrations in paintings are thought to be among the most distinctive in the world.
  

Early Mughal Painters

• After a series of wars, Babur established the Mughal dynasty.
  • He didn't have much time to commission paintings, but he is said to have commissioned some illustrations of the Mughal family tree from a Persian artist named Bihzad.
• Humayun, a great patron of the arts, ascended to the throne at a young age. He enjoyed painting and constructing beautiful monuments, but his atelier was disrupted when he lost the throne to Sher Shah Suri and was exiled to Persia.
  • While at Shah Abbas' court in Persia, he hired two major painters, Abdus Samad and Mir Sayyid Ali, who stayed with him after he reclaimed his throne and established the Mughal dynasty in India.
  • These artists were responsible for introducing Persian influences into Mughal paintings and produced a number of successful illustrated albums.
  • They created an illustrated manuscript called Tutinama during Akbar's reign.

Akbar

• Akbar was in charge of creating an entire department dedicated to painting and scribbling his paperwork.
• He founded Tasvir Khana, a professional artistic studio where artists were engaged on pay and developed their own styles.
• Akbar regarded painting as a means of both study and recreation. He believed that a painting could convey a subject's demeanor and regularly awarded painters who created lifelike images.
• The use of three-dimensional figures and the continued use of foreshortening are distinguishing features of Akbar's paintings.
• The artists also encouraged the use of calligraphy in their paintings.
• One of the distinguishing features of this period was the transformation of popular art to court art, in which the artist was more concerned with depicting scenes of court life rather than scenes of popular life.
• Daswant, Basawan, and Kesu are some of the most well-known painters of this era.
• During Akbar's reign, notably illustrated manuscripts include Tutinama, Hamzanama, Anvar-i-Suhaili, and Gulistan of Sadi.
  

Jahangir

• During the reign of Jahangir, Mughal paintings achieved their pinnacle.
• By nature, he was a naturalist who loved paintings of flora and fauna, such as birds, animals, trees, and flowers. He emphasized the importance of incorporating naturalism into portrait painting.
• One of the distinctive trends that emerged during this time period was the use of decorated margins around paintings that were sometimes as elaborate as the paintings themselves.
• Jahangir was regarded as a talented artist, and he maintained his own private workshop, though no major works by him have survived.
• His atelier primarily produced miniature paintings, the most famous of which were naturalistic paintings of the zebra, turkey, and cock.
• Ustad Mansoor, a master of drawing the features of the most complex faces, was one of his era's most famous artists.
• During his reign, an animal fable called Ayar-i-Danish (Touchstone of Knowledge) was illustrated.

Shah Jahan

• During Shah Jahan's reign, the tone of Mughal art shifted dramatically.
• In contrast to his father and grandfather, who preferred naturalistic images, Shah Jahan preferred to use artificial elements in his paintings.
• According to legend, he attempted to diminish the vitality of the paintings and introduce unnatural stillness as a result of European influence.
• He changed the drawing and painting techniques from the previous period. He discouraged the use of charcoal in drawing and instead encouraged the artists to draw and sketch with a pencil.
• He also directed that more gold and silver be used in the paintings.
• In addition, he preferred brighter color palettes than his predecessors.
• As a result, we can say that the Mughal atelier expanded during his reign but changed significantly in style and technique.

Miniature Paintings - Rajput style

• The 17th and 18th centuries were the most significant periods.
• Based on mural and fresco forms at first. The tiny painting style gained popularity in the later century.
• It is usually religious or devotional in nature.
• It typically employs Hindu symbols such as the lotus, peacock, and swan.

Miniature Paintings - South India

• The practice of creating miniature paintings was already well-established in the South Indian states throughout the early medieval period.
• Because of the climate, these schools differed from those in northern India.
• These paintings have a lot of gold in them. They also focussed their efforts.
• Much more time is spent drawing celestial creatures than it is spent painting rulers.
• The following are some of the most well-known schools:
  • Tanjore painting
  • Mysore painting

Tanjore Painting

• The Thanjavur or Tanjore School is known for its unique decorative painting style. During the 18th century, they were patronised by the Maratha rulers.
• These paintings are distinct in that they are primarily made of glass and board rather than the traditional cloth and vellum used in north India. Due to the bright colour patterns and abundant use of gold leaf, they are one-of-a-kind.
• To create larger-than-life images, they employed a variety of gemstones and cut glasses as ornaments.
• The majority of the paintings showed Krishna smiling in various stances and highlighted numerous significant events in his life.
• Under the patronage of Sarfoji Maharaj, a prominent patron of the arts, these paintings attained their pinnacle.
  

Mysore Painting

• The rulers of Mysore province were patrons of these paintings, which lasted under the British period as well. The representation of Hindu gods and goddesses is a key motif in the Mysore paintings.
• The unusual aspect of these paintings is that each one contains two or more people, one of which is larger and more colorful than the others.
• Furthermore, the technique used to create these paintings differs significantly from that used in north Indian styles.
• They employ 'gesso paste,' which is zinc oxide and Arabic gum mixture. This provides the painting with a distinct foundation that produces a gloss over the backdrop.
  

Conclusion

Exquisite miniature paintings are intricate, handcrafted pieces of art. These artworks are not only vibrant and visually striking but also characterized by their diminutive size. Their most remarkable attribute lies in the intricate and delicate brushwork that imparts each piece with its distinct identity. These miniatures are created using meticulously handcrafted colors derived from a range of sources such as pure gold, silver, minerals, plants, precious stones, indigo, and conch shells. In the realm of Indian miniature paintings, the depiction of Ragas holds a significant place. Across the country, various schools of miniature painting flourished, including the Deccan, Rajput, and Mughal schools.