Origin and development of Rajasthani painting Origin Rajput paintings were confined around Rajasthan, Bundelkhand and Punjab region of the Himalayas. It has been subdivided into two styles based on geographic and stylistic differences: The Rajasthani School covering the areas of Mewar (later Udaipur), Jaipur, Bundi, Kishangarh, Jodhpur, Bikaner. The Pahari School includes painting of Basohli, Kangra , Guler, Nurpur, Chamba, Mandi, Haripur and Tehri- Garwal. Each of the schools is a complete unit comprising many sub-schools. Development Two major factors contributed greatly to the development of Rajasthani Paintings. First, the economic prosperity enjoyed by the commercial community of Rajasthan. Second, the revival of Vaishnavism and the growth of Bhakti cult. In the 14th century the influence of poets and writers like Ramanuja , the worshipper of Lord Vishnu and Jaydev,the worshipper of Lord Krishna brought about great changes in the art, literature and spiritual awakening of the people all over India. The appearance of Sri Chaitanya and Meerabai and their total devotion and love for Lord Krishna swept over the whole of India. Rajasthani and Pahari paintings were greatly influenced by the advent (arrival) of Ramananda, Tulsidas, Kabir. lt resulted in the expansion of the imaginative horizon of the artists and in the inclusion of subjects related to Sri Ramcharit, Geet-Govida, Hara- Parvati, ancient tales, live of saints, Baramasa or the monthly festivities of the year and Rag-Raginis based on Indian classical music. Scenes from the Ramayana and Mahabharata, works belonging to the Krishna cult of the Geet-Govinda (written by the Bengali court-poet Jaydeva in 12th century), Bhagvat Puran, the works of Surdas, Keshavdas and Beharilal was a favourite subject-matter for Rajasthani painters because it deals exclusively with the romantic exploits of Radha and Krishna in a pastoral settings. The prepondering theme in these illustrations is love in all its form (treated in variety of ways), as in Nayak -Nayika Bheda" (classification of heros-heroins), Folk-lore and ballads (biraha, type of lok geet) like Dhola-Maru, Sohni-Mahinwal, Laur-Chand, (a papular north Indian biraha by Daut Maulana). Sanskrit classics like Kadambari by Banbhatta, Rasikpriya, Ramchandrika and love episode of Chaut-Panchasika, Nala-Damayanti were illustrated.
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<a data-ved="2ahUKEwiOwoW2xcftAhWBA3IKHV5YBLkQFjALegQIExAC" href="https://www.ismoman.com/media/senior/CLASS_XII_FINE%20ARTS_RAJASTHANI%20MINIATURE%20PAINTING_WORKSHEET_2.pdf" ping="/url?sa=t&source=web&rct=j&url=https://www.ismoman.com/media/senior/CLASS_XII_FINE%2520ARTS_RAJASTHANI%2520MINIATURE%2520PAINTING_WORKSHEET_2.pdf&ved=2ahUKEwiOwoW2xcftAhWBA3IKHV5YBLkQFjALegQIExAC&cshid=1607745164794687" rel="noopener" target="_blank">Origin and development of Rajasthani painting Origin Rajput ...</a>
Gaurav Seth 3 years, 11 months ago
Origin and development of Rajasthani painting Origin Rajput paintings were confined around Rajasthan, Bundelkhand and Punjab region of the Himalayas. It has been subdivided into two styles based on geographic and stylistic differences: The Rajasthani School covering the areas of Mewar (later Udaipur), Jaipur, Bundi, Kishangarh, Jodhpur, Bikaner. The Pahari School includes painting of Basohli, Kangra , Guler, Nurpur, Chamba, Mandi, Haripur and Tehri- Garwal. Each of the schools is a complete unit comprising many sub-schools. Development Two major factors contributed greatly to the development of Rajasthani Paintings. First, the economic prosperity enjoyed by the commercial community of Rajasthan. Second, the revival of Vaishnavism and the growth of Bhakti cult. In the 14th century the influence of poets and writers like Ramanuja , the worshipper of Lord Vishnu and Jaydev,the worshipper of Lord Krishna brought about great changes in the art, literature and spiritual awakening of the people all over India. The appearance of Sri Chaitanya and Meerabai and their total devotion and love for Lord Krishna swept over the whole of India. Rajasthani and Pahari paintings were greatly influenced by the advent (arrival) of Ramananda, Tulsidas, Kabir. lt resulted in the expansion of the imaginative horizon of the artists and in the inclusion of subjects related to Sri Ramcharit, Geet-Govida, Hara- Parvati, ancient tales, live of saints, Baramasa or the monthly festivities of the year and Rag-Raginis based on Indian classical music. Scenes from the Ramayana and Mahabharata, works belonging to the Krishna cult of the Geet-Govinda (written by the Bengali court-poet Jaydeva in 12th century), Bhagvat Puran, the works of Surdas, Keshavdas and Beharilal was a favourite subject-matter for Rajasthani painters because it deals exclusively with the romantic exploits of Radha and Krishna in a pastoral settings. The prepondering theme in these illustrations is love in all its form (treated in variety of ways), as in Nayak -Nayika Bheda" (classification of heros-heroins), Folk-lore and ballads (biraha, type of lok geet) like Dhola-Maru, Sohni-Mahinwal, Laur-Chand, (a papular north Indian biraha by Daut Maulana). Sanskrit classics like Kadambari by Banbhatta, Rasikpriya, Ramchandrika and love episode of Chaut-Panchasika, Nala-Damayanti were illustrated.
Click on the given link:
<a data-ved="2ahUKEwiOwoW2xcftAhWBA3IKHV5YBLkQFjALegQIExAC" href="https://www.ismoman.com/media/senior/CLASS_XII_FINE%20ARTS_RAJASTHANI%20MINIATURE%20PAINTING_WORKSHEET_2.pdf" ping="/url?sa=t&source=web&rct=j&url=https://www.ismoman.com/media/senior/CLASS_XII_FINE%2520ARTS_RAJASTHANI%2520MINIATURE%2520PAINTING_WORKSHEET_2.pdf&ved=2ahUKEwiOwoW2xcftAhWBA3IKHV5YBLkQFjALegQIExAC&cshid=1607745164794687" rel="noopener" target="_blank">Origin and development of Rajasthani painting Origin Rajput ...</a>
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