Rajput Painting | History Optional for UPSC (Notes) PDF Download

Introduction

Origin and Evolution:

• Rajput painting, also known as Rajasthani painting, originated in the royal courts of Rajputana, northern India, between the late 15th and 18th centuries.
• Ananda K. Coomaraswamy believed this style evolved from earlier pre-Turkish traditions, reaching its peak around 1600 AD.
• The style began in Mewar and spread to regions like Marwar (Jodhpur), Bikaner, Bundi, Kishangarh, Kota, Aamer (Jaipur), and Alwar.

Influences and Characteristics:

• Rajput painting was influenced by western painting traditions and later by the Mughal style.
• Initially vigorous, it absorbed Mughal elements but saw a resurgence and flourishing under various Rajput kingdoms after the Mughal decline.
• Artists trained in Mughal miniatures, often from the imperial court, blended these styles with local traditions, especially those depicting Hindu epics like the Mahabharata and Ramayana.

Regional Styles:

• Each Rajputana kingdom developed its own distinct style, yet shared common features.
• Preferred mediums included miniatures in manuscripts or single sheets for albums, with many paintings also adorning the walls of palaces, inner chambers, and havelis, particularly in Shekhawati.

Note

• The Kangra and Kullu schools of painting are considered part of Rajput painting and will be discussed under the Pahari style of painting.

Style and themes 

Rajasthani Miniature Paintings Overview:

• Theme and Subject Matter: The primary theme of Rajasthani miniature paintings is nature, often influenced by the growing Bhakti and vernacular movements. Popular literary works like the Bhagvata Purana and the Gita Govinda also inspired themes, with heroes and heroines depicted as celestial lovers Radha and Krishna.
• Forms of Painting: Rajasthani miniatures include various forms such as miniature painting, book illustration, portraits, and murals in palaces, forts, and havelis.
• Varied Themes: The themes depicted in these paintings are diverse, including nature, Bhakti, epics, love-romance, dancing Shiva (Nataraja), flute-playing Krishna, and musical seasons.
• Mughal Influence: Under Mughal influence, new themes like court scenes, hunting scenes, royal splendor, luxury, portraits, and scenes from women’s quarters gained prominence.
• Depiction of Nature: Paintings often showcase various forms of nature, including trees, dense foliage, singing birds, frolicking animals, lotus-filled rivers, and rainfall.
• Color Palette: Rajasthani miniatures are known for their intense colors, such as deep blue for clouds, emerald green for foliage, and gold for lightning.
• Compartmental Pictures: Artists often used compartmental pictures to frame figures and groups within divided spaces.
• Other Features: Bright and luminous colors, highly decorative styles, emotional elements, vertical formats, and the main material being paper are characteristic of these paintings.
• Color Meanings: Different colors convey specific meanings, such as yellow for the marvelous, brown for the erotic, and red for fury.

Main Centers of Rajput painting 

The four principal schools are

• Mewar School: This includes various styles of painting such as Chavand, Nathdwara, Devgarh, Udaipur, and Sawar.
• Marwar School: It comprises styles like Kishangarh, Bikaner, and others from regions such as Bikaner, Jodhpur, Nagaur, Pali, and Ghanerao.
• Hadoti School: This school includes styles from Kota, Bundi, and Jhalawar.
• Dhundar School: It encompasses painting styles from Amber, Jaipur, Shekhawati, and Uniara.

Mewar School

• The oldest manuscripts of Mewar painting, such as the 'Supasanachariyam' and 'Suparsanatham,' date back to around 1423 AD.
• These early works display traces of the Apabhransa style, particularly evident in the depiction of projecting eyes.
• The Mewar style as a distinct school only emerged by the end of the 16th century.
• Notable artists like Nisar Din (1606) and Sahib Din (1627-1648) played a crucial role in elevating the Mewar School to its peak.
• The school produced a vast illustrated series covering a wide range of life, including mythology.
• Under the patronage of Jagat Singh I (1628-1652), a series of illustrations called Nayakabheda was created by various painters in a poetic and sentimental style.
• Over the next fifty years, the Mughal style gradually weakened the vitality of the Mewar school, leading to a more subdued approach.

Features of Mewar Paintings

• Color Palette: Bright and brilliant reds, oranges, greens, and blues are used profusely.
• Figure Proportions: Male and female figures have long noses, oval-shaped faces, and elongated, fish-like eyes, showing the influence of the Apbhramsa style. Females are drawn relatively smaller than males.
• Clothing: Males wear loose-fitting garments, embroidered Patkas, and turbans, while females wear loose long skirts, cholis, and transparent odhnis (veils).
• Ornamentation: Birds, animals, and trees are depicted ornately, with flowers drawn in bunches. Hills and mountains are depicted in a Persian style, and small hillocks and mounds are included in the paintings.
• Sub-styles: The Nathdwara, Devgarh, and Shahpura sub-styles have developed from the Mewar style.

Examples of Mewar Paintings

• Lord Krishna with Gopis: depicted with vibrant colors and intricate details.
• Raja Man Singh of Amber: portrayed in a historical context with elaborate background scenes.
• Bhima Slaying Kichaka: illustrated with dynamic action and narrative depth.
• Shah Jahan with His Sons: a historical painting capturing royal figures with rich details.
• Raja Suraj Mal of Bharatpur: depicted in a historical and cultural context.

Bundi School

• The Bundi School is a significant part of Rajasthani miniature painting that thrived from the 17th to the late 19th century in Bundi, Rajasthan.
• This style flourished under the Hada Rajputs, who ruled Bundi during this period.
• An early influence on this school was the Mughal Style,particularly seen in the Ramala series painted at Chunar near Banaras in 1561.
• The Chunar series inspired the unique characteristics of the Bundi School.

Characteristics of Bundi Paintings:

• Feminine Beauty: Women are depicted with small round faces, receding foreheads, prominent noses, and full cheeks. Their attire typically includes a pajama and a transparent jama.
• Human Figures: Tall, slim, and graceful figures are common, with women having deep red lips, small noses, round faces, and small chins.
• Landscapes: Lush landscapes are painted in vibrant colors.
• Text: Sometimes, a yellow band with text in Nagiri characters appears at the top of the painting.

Subjects Depicted:

• Hunting scenes
• Court scenes
• Festivals and processions
• Life of nobles
• Scenes of lovers
• Animals and birds
• Scenes from Lord Krishna’s life

Influence and Evolution:

• The Bundi School was influenced by the Mughal style but maintained its originality.
• In the 18th century, it adopted Mughal subjects and technical details while emphasizing feminine grace.

Kota school of paintings

• Kota's Historical Context: Kota, located in southern Rajasthan, was established as a separate entity from Bundi in 1624.
• Artistic Roots: The Kota style of painting is considered a sub-branch of the Bundi style, with the Kota School closely related to the Bundi School.
• Evolution of Style: By the mid-17th century, a distinctive Kota style emerged, yet it retained similarities with Bundi paintings, particularly in details, costumes, and facial shading techniques.
• Famous Hunting Scenes: Kota is renowned for its hunting scenes, showcasing princes and nobles hunting lions and tigers in the region's rocky and sparsely wooded forests.
• Wall Art and Subjects: Some Kota-style artworks, found on the walls of Kota's palaces, depict nature. Artists were known for creating captivating hunting scenes and portrayals of beautiful women.
• Portraits under Jagat Singh: During Jagat Singh's reign (1658-1684), vibrant and bold portraitures became prominent.
• Portraits under Arjun Singh: Under Arjun Singh (1720-1723), a distinctive feature in male depictions was a long, hooked nose.
• 18th Century Popularity: Kota gained fame for its exceptional hunting scenes, Ragamalas, and portraits.
• 19th Century Revival: During Ram Singh II's reign (1827-1866), Kota paintings experienced a revival, with commissions for artworks depicting worship, hunting, durbar, and processions.
• Artistic Features: Notable characteristics of the Kota style include stout bodies, shining faces, and bulging eyes, with a color palette featuring green, red, and gold.

Kishangarh School 

• Individualistic Style: Kishangarh paintings are known for their unique facial features and strong religious themes.
• Sensuous and Lyrical: The Kishangarh style is characterized by its lyrical and sometimes sensuous quality.
• Refined Features: Men and women in these paintings are depicted with delicate features such as pointed noses, deeply curved eyes, and wavy hair. Their actions often take place in expansive landscapes.
• Elegant Forms: The portrayal of women in Kishangarh paintings, with their sharp noses, almond-shaped eyes, and arched mouths, set a new standard in Rajasthani art.
• Mughal Influence: While Mughal secular influence was present in Rajasthani painting, Kishangarh maintained a strong Hindu devotional spirit, particularly under the patronage of Maharaja Sawant Singh.
• Maharaja Sawant Singh: This ruler (1699-1764), also known as Nagari Das, played a crucial role in promoting paintings based on the love story of Radha and Krishna.
• Radha-Krishna Theme: A significant series of paintings focused on the Radha-Krishna theme was inspired by Raja Savant Singh, who was a poet and a devout follower of the Vallabhacharya sect.
• Bani Thani: Savant Singh's love for a singer named Bani Thani, who worked for his stepmother, is believed to have influenced the distinctive Kishangarh facial style. Bani Thani is often regarded as India’s Mona Lisa.
• Nihal Chand: The talented artist Nihal Chand was instrumental in translating the romantic and religious fervor of his patron into innovative visual representations.

Bikaner style

• Developed in the late 17th century, influenced by artists from the imperial Mughal workshops.
• These artists dispersed after the Mughal workshops declined during the reign of Aurangzeb, who stopped supporting Mughal painting.
• Subjects mainly include court portraits and illustrations from Hindu texts.
• The Bikaner style is more closely related to the Mughal style than many other Rajput styles, with some elements from the Deccan style.

Reasons for the Development:

• Close Association: The Bikaner rulers, like Raja Rai Singh, had a strong connection with Mughal Emperors such as Akbar and Jahangir.
• Unemployment of Muslim Painters: Many Muslim painters from Delhi and Agra became unemployed and found work in Bikaner.

Exquisite Examples:

• Painted during the reigns of Rai Singh, Karan Singh, and Anup Singh.
• Included portrait studies, Baramasa, Ragmala, Bhagavata Purana, and Krishnalila illustrations.

Shift in Interest:

• Many leading painters who were affected by Shah Jahan's shift of interest towards architecture found patronage with Karan Singh.
• Ali Raza was one notable painter who created works like Lakshmi Narayana and the portrait of Karan Singh.
• Rukh-ud-din introduced Deccani art elements to Bikaner, especially in rendering fountains and court scenes.

Later Focus:

• Bikaneri art later concentrated on Bikaner’s architecture, such as havelis.
• Artists began to display their work outside royal courts, allowing businessmen and landlords to appreciate this style of art.

Amber Style

• Origin: The Amber style is rooted in the rich heritage of the Kachchava and Kush dynasties, who were the rulers of Amber.
• Mughal Influence: The paintings show a strong influence from Mughal art due to the kinship and cultural exchange between the Mughals and the rulers of Amber.
• Depiction of Lord Krishna: During the late 18th and early 19th centuries, many artworks were created in this style depicting episodes from the life of Lord Krishna.
• Characteristics: The Amber style has unique features, particularly in the depiction of male and female bodies, which are influenced by Rajasthani folk art.
• Line Quality: The Apbhransh style is noted for its poor quality of line work, which is a contrast to the Amber style.
• Pictorial Texts: Sometimes, the Amber style includes pictorial texts alongside the images.

Jaipur style 

• Origin and Influence: Jaipur and the nearby areas of Alwar and Tonk are known for the Jaipur style of paintings, which has a significant Mughal influence. The Jaipur style is an evolution of the Amber style and came into prominence in the 18th century A.D.
• Early Developments: During the time of Jai Singh I(1622-1668), Jaipur paintings were characterized by simple compositions and delicate depictions of women. In his later years, the influence of the Mughal style, particularly from the era of Shah Jahan, became apparent.
• Evolution of Style: Under the reigns of Jai Singh II(1693-1743), Ishwari Singh(1743-1750), and Madho Singh I(1750-1767), a new style emerged, especially in the portrayal of women's faces, with a focus on an oval face shape. This period saw a blend of Rajput and Mughal influences.
• Regional Distinction: During the rule of Pratap Singh(1779-1803), the Mughal influence waned, leading to bolder compositions and regional abstractions, while still showing a lineage from Mughal sources.
• Notable Artists: In the time of Ishwari Singh, artists like Sahib Ram and Lall Chittara gained prominence. Sahib Ram was known for his portrait of Raja Ishwari Singh, while Lall Chittara depicted animals and birds in various struggles.
• Artistic Techniques: Artists in the Jaipur style often used deep reds for the margins of the paintings. Colors like white, red, and yellow were extensively used. The style excelled in life-size portraits, depictions of myths, ragas, astrological themes, and various amusing and erotic subjects.
• Characteristics of Paintings: Jaipur style paintings typically featured large canvases with ornate backgrounds and bright, beautiful borders. Male figures were depicted with clean, attractive faces and wealthy attire, while female figures were shown with large eyes, long hair, stout bodies, and pleasant expressions. Women were adorned with various ornaments such as necklaces, anklets, bangles, and earrings.
• Themes: Common themes in Jaipur style paintings included Lord Krishna and Radha, Rajput princes, camel fights, Mughal court ceremonies, and stories from the Bhagwat Purana, Ramayana, and Mahabharata.

Shekhawati Style

• Shekhawati is renowned for its beautifully painted and decorated mansions, known as havelis.
• These havelis were built by wealthy merchants, with some dating back to the 18th century.
• The region is famous for its frescoes, which often depict mythological and historical themes, as well as large animals.

Features of the Shekhawati Style:

• Bold Relief Drawings: Elephants, horses, and guards are depicted in bold relief in the brackets of havelis.
• Gods and Goddesses: Images of gods and goddesses are painted in sharp outlines on the main gates.
• Company Style Influence: The walls of many havelis are adorned with pictures reflecting the impact of the Company style.
• Victorian Age Items: Paintings include railway trains, motor vehicles, bicycles, sewing machines, aeroplanes, and Victorian-era furniture.
• British Rule Influence: Changes in eating habits, dressing styles, and ways of living during British rule are well depicted in these paintings.

Differences between Mughal and Rajput paintings 

Royal Pursuit in Mughal Paintings:

• Mughal paintings often depict royal pursuits, especially in court and hunting scenes, showcasing the grandeur and power of the Mughal emperors.

Socio-Religious and Bhakti Themes in Rajput Paintings:

• Rajput paintings prominently feature socio-religious themes and the Bhakti movement, reflecting the spiritual and devotional aspects of Rajput culture.

Mythological Themes in Rajput Paintings:

• Mythological themes are prevalent in Rajput paintings, illustrating stories and characters from Hindu mythology.

Difference in Thematic Focus:

• Such mythological themes are almost absent in Mughal paintings, which focus more on realistic and intellectual themes.

Intellectual vs. Emotional Expression:

• Mughal painting is characterized by its intellectual approach, while Rajput painting is more emotional and lyrical, conveying deep sentiments and feelings.

Depiction of Women in Rajput Paintings:

• Rajput paintings depict various facets of women, showcasing their roles, beauty, and significance in society.

Absence in Mughal Paintings:

• Such detailed depictions of women are largely absent in Mughal paintings, which focus more on grandeur and realism.

Indian Tradition in Rajput Paintings:

• The Indian tradition is more visible in Rajput paintings, which incorporate local customs, beliefs, and practices.

Use of Color in Rajput Paintings:

• In Rajput paintings, different colors convey specific meanings and emotions, adding depth to the artwork.

Compartmental Pictures in Rajput Paintings:

• Rajput paintings often use compartmental pictures, a technique absent in Mughal paintings.

Birds and Animals in Mughal Paintings:

• In Mughal paintings, birds and animals are depicted out of curiosity and for entertainment value, showcasing the diversity of fauna.

Symbolic Representation in Rajput Paintings:

• In Rajput paintings, birds and animals are more symbolic, representing deeper meanings and cultural significance.

Realism in Mughal Paintings:

• Mughal painting is known for its realism, capturing details and lifelike representations with precision.

Symbolism in Rajput Paintings:

• Rajput painting is rich in symbolism and poetic metaphor, where every element carries a deeper meaning.

Trend of Muraqqa in Mughal Painting:

• The trend of Muraqqa, which involves creating an album of Islamic miniature paintings, is a distinctive feature of Mughal painting.

Collaboration in Mughal Painting:

• In Mughal painting, it is common for one painting to be created by multiple painters, showcasing collaborative efforts.

Absence in Rajput Paintings:

• This trend of collaboration is absent in Rajput paintings, where individual artists typically create complete works.

Similarities and dissimilarities between Rajput paintings and Pahari paintings 

• Scholar Ananda Coomaraswamy divided the Hindu style of painting into two distinct schools based on their regions of origin.
• Rajput Paintings: From the Central plains, dating from the late 15th century to the 17th century AD.
• Pahari Paintings: From the Himalayan foothills, dating from the late 17th century to the first half of the 19th century AD.

Elements of Similarities 

• Both enjoyed royal patronage.
• There were many centres for both like Kangra, Basoni etc for Pahari paintings and Kishangarh, Mewar etc for Rajput paintings.
• Both include miniature paintings, manuscript illustrations, etc.
• Themes are also similar like love-romance themes, bhakti themes, etc.
• There was a use of bright colours in both.
• Similarities are seen in decorative patterns, depiction of social life, vertical format on paper, etc.

Elements of Dissimilarities 

• Murals: Rajput paintings feature murals in havelis and palaces, which are not found in Pahari paintings.
• Portrait Paintings: Rajput paintings include portrait paintings, though they are limited in Pahari art.
• Mughal Influence: Mughal influence is more prominent in Rajput paintings compared to Pahari art.
• Royal Splendour: Rajput paintings depict royal splendour and luxury, which is less evident in Pahari paintings.
• Court and Hunting Scenes: Court scenes and hunting scenes are common in Rajput paintings but not in Pahari art.
• Book Illustrations: Rajput paintings feature more book illustrations, such as the Bhagwat Puran, Gita Govinda, and Chaurpanchsika.
• Compartmental Paintings: Rajput paintings include compartmental paintings, a style not present in Pahari art.
• Colour Symbolism: In Rajput paintings, different colours represent various emotions (e.g., brown for erotic mood, yellow for marvellous mood, and red for furious emotion). This symbolism is not found in Pahari paintings.

Rangamala Painting of Medieval India

• Rangamala is a type of miniature painting from medieval times, literally meaning "Garland of Ragas." It portrays various Indian musical modes known as Ragas.
• Associated with different regional styles such as Rajasthani, Deccani, Pahadi, and Mughal paintings, these variations are named accordingly: Rajasthani Rangamala, Deccani Rangamala, Pahadi Rangamala, and Mughal Rangamala.
• Each Raga is represented by a specific color, reflecting the unique essence of that musical mode.
• Seasons Depicted in Ragas: The paintings illustrate Ragas associated with different seasons:
• Raga Bhairava: Summer
• Raga Dipika: Monsoon
• Raga Shri: Autumn
• Raga Kaushik/Malkhans: Early Winter
• Raga Megha: Winter
• Raga Hindola: Spring
• Time Associated with Ragas: The paintings also depict the time of day when a particular Raga is to be sung:
• Raga Hindola: Night
• Raga Bharava: Dawn
• Raga Deepak: Afternoon
• Raga Kaushik: Night
• Emotions Related to Ragas: Different emotions are linked to specific Ragas, such as:
• Raga Hindola: Love
• Raga Bharava: Fear
• Raga Kaushik: Joy
• Raga Megh: Peace
• Deities Associated with Ragas: Some Ragas are associated with deities, like:
• Raga Bhairava: Shiva
• Raga Shri: Devi
• Concept of Raga Family: The paintings also feature the female counterparts of the Ragas, known as Ragini, and their offspring (Ragaputra/Ragaputri). For example:
• Raga Bhairava: Ragini Bhairavi, Ragaputra Pancham
• Other Characteristics: Rangamala paintings are characterized by text representing verses, often describing a story of a hero and heroine (Nayak and Nayika). These paintings are multicolored and represent a beautiful blend of painting, music, and poetry. They can be both in 2-D and 3-D.