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. 2 | P a g e These are the illustration of genre (variety) type paintings in Rajasthani Schools. All these changes in the approach to Rajasthani painting were direct result of the 14th century cultural renaissance that swept the whole Central and North-Western India. The special style of the Rajasthani paintings shows a primitive vigour, bold outlines and brilliant colours set in a harmonious pattern. Regional features in the depiction of facial types, local scenery and technical details can be found in different sub-schools. Rajasthani painting, like Indian literature, is a symbolic expression of a multiple aesthetic sentiments of lndian life, its nature and daily activities and sudden flashes of emotional thought is a unique feature of Rajasthani painting. The use of different colours to express different thought is very clear in this style. The artists reveal an unusual understanding of colour harmony. Colours carry for them distinct meaning as red depicts warm, emotion and fury, yellow the marvelous, brown the erotic. Colours are also used to represent specific musical modes which constitute a special feature of Indian Art in the Ragamala paintings. There is a special position in the series of Ragamala painting; bright colours and bold outlines are its salient feature. Paintings are left to the imagination and emotion of the viewers for interpretation. They are economical in choosing the subject-matters, but very expressive. These paintings are two-dimensional with simplification of lines and flat colour schemes with presentation of all figures in same dimension in complete disregard of perspective. The use of bright red, blue, yellow and green colours gave it a contrasting brilliance. In this style generally, when the artists painted the figure of a woman, the same figure would be duplicated for other woman in the painting as symbol of all femininity. All would have large lotus eyes, flowing tresses (curls), firm breasts, slender (slim) waists and rosy hands. Soon after Rajasthani painting was accepted as an established school of painting, it must have in close contact with Mughal School of painting and contact with Mughal court was inevitable. But it is an established fact that at no time the proud Rajput would yield in spirit to foreign masters. The nomenclature Rajasthani painting is not given to any rootless set of painting that grew indigenously at any one place, but is a concerted effort by group of master painters to develop this new type of painting where Western Indian painting, Jain Manuscript painting and Gujarat style were fused together to give rise to this new genre of painting. The centre where these activities and experiments were carrier through was Mewar which was least affected by series of Mughal attack and painters were left in peace to develop their own style.

The Main features of Deccan School of Miniature Painting

1. Colour Scheme: Brilliant and beautiful colours have been used in Deccani paintings. They are different from the colour of Northern painting style. Golden colour has been used largely in the paintings where architecture is shown and also in the costumes, jewellery, utensils etc.

2. Persian Influence: High horizon, lavish use of golden colour, the landscape, golden sky, some flowering plans and arabesques on the top of the throne etc. all have a Persian influence on them.

3. Mughal Influence: In the later phase Deccani style, Mughal influence was at its peak. Mughal influence was due to migration of several Mughal painters to the Deccan during downfall of Mughal School of Painting.

4. Decorative Paintings: Deccani paintings were mostly decorative especially Hyderabad painting like the flowerbeds, costumes, rich and brilliant colours, facial feature etc.

5. Bold Drawing and Shading Techniques: Bold drawing, shading techniques and use of rich, pure and brilliant colours flourished at Tanjore.

Kabīr was a mystic poet and saint of India, whose writings have greatly influenced the Bhakti movement. Kabir tried to find common ground between Hindus and Muslims. Kabir's mystical and devotional poetry has been found inspirational by people of many different faiths.

Ravidas was a North Indian Guru mystic of the bhakti movement from Ramanandi Sampradaya and one of the direct disciples of Ramananda. Guru Ravidass Jayanti is the birthday of Guru Ravidass, celebrated on Magh Purnima, the full moon day in the month of Magh month

(a) Kabir and Raidas 
(b) Chand Bibi Plyaing Polo (Chaugan) 
Division of Marks:
(a) Name of the painter
(b) Medium & technique
(c) Subject-matter Composition

Mughal painting reflects an exclusive combination of Indian, Persian and Islamic styles. As the name suggests, these paintings evolved as well as developed during the rule of Mughal Emperors in India, between 16th to 19th century. The Mughal paintings of India revolved around themes, like battles, court scenes, receptions, legendary stories, hunting scenes, wildlife, portraits, etc. The Victoria and Albert Museums of London house a large and impressive collection of Mughal paintings.

Mughal paintings of India developed as well as prospered under the rule of Mughal Emperors, Akbar, Jahangir and Shah Jahan.

Under Akbar Painting 

The paintings of the Mughal era experienced growth on a large-scale under the rule of Akbar. At that time, a large number of artists painted under the supervision of two Persian artists. Since Akbar was interested in tales, the paintings of his period are based on Ramayana, Mahabharata and Persian epics. Mughal paintings demonstrated raised naturalism which are accompanied by animal tales, portraits, landscapes, etc.

Under Jahangir

Emperor Jahangir reigned from 1605 to 1627 and extended great support to various art forms, especially paintings. This period saw more and more refinement in brushwork, along with the use of much lighter and subdued colors. The main themes of the Mughal paintings revolved around the events from Jahangir's own life, along with portraits, birds, flowers, animals, etc. One of the most popular examples of Mughal paintings of this time include the pictorial illustrations of the Jehangir-nama, the biography of Emperor Jahangir.

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>

FIRST – 1906, MIDDLE – 1921, FINAL STAGE - 1947

The first National Flag of India was hoisted on August 7, 1906 in the Parsee Bagan Square (Green Park), Kolkata. The flag was composed of three equal horizontal stripes of green, yellow and red. The green stripe on the top had eight white lotuses embossed in a row. The word Vande Mataram was inscribed in deep blue on the middle yellow stripe at the bottom had the sun in white on the left and the crescent and a star in white on the right. The second flag came out in 1921; Pingali Vengaiyah (an Andhra youth) prepared a flag and handed it to Gandhiji. It was in two colours, red and green representing two major communities and a large charkha extending to both the bands as a symbol of progress. Gandhiji apparently was pleased with the Flag and suggested to the youth to introduce a white stripe in the middle and superimpose the charkha in blue on it. On July 22 1947, Constituent assembly adopted a new Flag as free India’s National Flag with saffron at the top, white at the middle and green at the bottom in equal proportions and the chakra in navy blue on white stripe (Chakra which appears on the lion capital of Ashoka at Sarnath as Dharma Chakra). The diameter of the wheel (Chakra) shall be approximate to the width of the white band at the middle. The ratio of the width and length of the Flag shall ordinarily be two breadths by three lengths.

The significance of the colours is as follows: Saffron - Courage and sacrifice White - Truth and peace Green - Faith and chivalry Ratio - 3:2