RAJASTHANI SCHOOL

Revision
•Introduction
•Origin and Development
• Sub-schools – Mewar , Bondi, Jodhpur, Bikaner, Kishangarh, Jaipur
•Pantings
TITLE ARTIST SUB SCHOOL
Maru Ragini Sahibdin Mewar
Chaugan Player Dana Jodhpur

Krishna on swing Nuruddin Bikaner

Radha (Bani Thani) Nihalchand Kishangarh

Bharat meets Ram at Guman Jaipur

Chitrokut
INTRODUCTION :
GEOGRAFICAL STIUATION: Rajasthan is surrounded by Pakistan, Punjab, Haryana,
Uttar Pradesh, Madhya Pradesh and Gujrat.
Rajasthan means place of Rajas (king) or Place of state (Rajaya’s ) so there were so
many kings and states at that time and this place is known as Rajasthan.
Rajasthan Art is not a new school of art but it was a refined and purified form of the
same Indian Traditional Art which was developed in Rajasthan Gujrat and Mewar as a
new school of art is also known as Rajasthani or Rajput or Hindu school of art. This art
was based on Hindu literature, Music, poetry, Religion, Rag, and Rani Ritikala Paintings
etc.
ORIGIN
Rajasthani School did not originated as miniature but it was primarily a mural art. This
art was devloped under Rajput kings so it is called Rajput art. A number of panting's
were done on romance and general folk art. The whole Rajasthan was affected by the
attack of the mughal but Mewar did not came under their control till the last. This was
the resson that Rajasthani school flourished first in mewar. And later in Jaipur,
Jhodhpur, Ambar, Kota, Bundi, Krishan Garh, Bikaner school etc. Mewar has an
important place in the development of Rajasthani school of art. It is a mixture of gujrat
and jain school along with original Indian Art. But Rajathani school of art is a pure
indian art. Even today Nathwara painting are very famous more of the painting depict
love scenes of Radha and krishna .
15th Century is supposed to be the time of revival of Hindi Literature and painting.
Literature,Music, Art, Architecture all saw a new dawn in this period. Paintings on
Krishna legends,religion, Ragmala and Ritikala poetry etc. were done during this
period. This was not thetraditional Apabhransha style of painting but it was the
refined and purified form of thesame which originated in Gujrat and Mewar as a
new school. This was called asRajasthani, Rajput or Hindu school.
DEVELOPMENT
In the beginning the paintings of this school remained confined to different kings
for theiramusement. The artists though prepared precious paintings but gradually
the paintings reachedthe common man. Several precious paintings were
destroyed by the Mughals in 16th and 17thCenturies but the paintings that had
reach the common man are still there is abundance, on thebasis of which we find
different styles of Rajasthani school.Initially this style was inspired by religion as
the followers of Ramanuja like Sur, Tulsi, Meera,Vallabhacharya and Chaitanya
Mahaprabhu had taken the expansion and publicity of HinduVaishnava religion to
climax.
Early Rajasthani paintings are extremely simple and straight forward in
composition inwhich figures are presented against the solid back-grounds of
dark colours. Vivid andglowing colours flatly laid within definite out lines,
architectural setting, stylized treatment oftrees and plants are some of the
characteristics of the Rajasthani miniatures .In later stagepaintings were done on
romance and folk themes.
Themes of Paintings – An Overview
By the sixteenth century, Vaishvanism in the cults of Rama and Krishna had become popular in
many parts of western, northern and central India as part of the Bhakti movement
that had swept the entire Indian subcontinent. Krishna had a special appeal. He was not only
worshipped as God but also as an ideal lover. The notion of ‘love’ was cherished as a
religious theme, where a delightful synthesis of sensuousness and mysticism was perceived.
Krishna was perceived as the creator from whom all creation was a sportive emanation,
and Radha, the human soul who led to offer herself to God. The soul’s devotion to the deity is
pictured by Radha’s self-abandonment to her beloved Krishna epitomised in
Gita Govinda paintings. Composed in the twelfth century by Jayadeva, who is believed to have
been the court poet of Lakshmana Sen of Bengal, Gita Govinda, the ‘Song of the Cowherd’, is a
lyrical poem in Sanskrit, evoking shringara rasa, portraying the mystical love between Radha and
Krishna through worldly imageries. Bhanu Datta, a Maithil Brahmin who lived in Bihar in the
fourteenth century, composed another favourite text of artists, Rasamanjari, interpreted as the
‘Bouquet ofDelight’. Written in Sanskrit, the text is a treatise on rasa and deals with the
classification of heroes (nayakas) and heroines (nayikas) in accordance with their age — baal,
taruna and praudha; physiognomic traits of appearance, such as padmini, chitrini, shankhini,
hastini, etc., and emotional states, such as khandita, vasaksajja, abhisarika, utka, etc.
Though Krishna is not mentioned in the text, painters have introduced him as the archetypal
lover.
Rasikapriya, translated as ‘The Connoisseur’s Delight’, is replete with complex poetic
interpretations and was composed to incite aesthetic pleasure to elite courtiers.
Composed in Brajbhasha by Keshav Das, the court poet of Raja Madhukar Shah of Orchha in
1591, Rasikapriya explores various emotive states, such as love, togetherness, jilt, jealousy,
quarrel and its aftermath, separation, anger, etc., that are common between lovers represented
through the characters of Radha and Krishna.
Kavipriya, another poetic work by Keshav Das, was written in the honour of Rai Parbin, a
celebrated courtesan of Orchha. It is a tale of love and its tenth chapter evocatively
titled Baramasa engages with the most enduring climactic description of the 12 months of the
year. While illustrating the daily life of people in different seasons and alluding to
festivals falling therein, Keshav Das describes how the nayika prevails upon the nayaka not to
leave her and proceed on a journey.
Bihari Satsai, authored by Bihari Lal, constituting 700 verses (satsai), is composed in the form of
aphorisms and moralising witticism. It is largely held that he composed the Satsai around 1662
while he was at the court of Jaipur working for Mirza Raja Jai singh as the patron’s name appears
in several verses of the Satsai. The Satsai has been largely painted at Mewar and less frequently
in the Pahari School. Ragamala paintings are pictorial interpretations of ragas and raginis.
Bardic legends and other romantic tales, such as Dhola-Maru, Sohni-Mahiwal, Mrigavat,
Chaurpanchashika and Laurchanda just to mention a few were other favourite
themes. Texts, such as the Ramayana, Bhagvata Purana, Mahabharata, Devi Mahatmya and the
like were favourites with all schools of painting.
SUBJECT MATTER OF RAJASTHANI SCHOOL
1. Religious Themes - Religious themes based on Ramayana and Bhagwat have been
painted with ample devotion.
2. Romantic Scenes - Romance of Radha and Krishna was the main subject , painted
in this style. Krishna with Gopis have also been beautifully painted.
3.Nayika Bheda,and Ragmala – These are some of the most liked subject of that
time.Many series have been painted on such themes.
4. Litrary Themes- Beautiful paintings were done on Geet-Govind , Bihari
chandrika ,RasikPriya ,Ram-Chandrika etc.
5. Barahmasa – Lots of paintings have been done on twelve different seasons found
in India.They are known as barahmasa.
6. General life - The artists of this school have also painted the general life of masses
such asmarriage scenes, processions, dances and music and even village scenes etc
7. Portraits , Court scenes and Hunting scenes have also been painted in Rajasthani
school.
Portrait of Radha popularly known as Bani- Thani compared with Mona Lisa is praise
worthy.
 CHARACTERISTICS OF RAJASTHANI SCHOOL
Depiction of Woman
The artist of this school has excelled in the painting of women. The most
importantcharacteristics of Kishan Garh school is the depiction of women. Women
have been painted slim,flexible & tall like creepers. Faces are also long with high and
sloping foreheads, pointed long nose and bulging out well cut lips. Chin is also little
longer.
Eyes have got special place in Kishan garh school. Fish shaped long drawn eyes and
bow like eyebrows have been painted beautifully but figures in Mewar school are of
small size .
Garments
The ladies have been shown wearing Lahanga and Choli and transparent Chunni but at
placesSari has also been painted. Male figures have been shown wearing high turbans
on their heads.Pajama and Rajput style Patka is also there. In religious paintings
Krishna has been painted with yellow garments. Pearl jewellery is worn by the figures
is the special feature of Kishangarh paintings.
Colour Scheme
Mostly Primary colours have been applied in this style without mixing but different
colours have been used in the background. White, gold and silver colours have also
been used.
Depiction of Nature
In Rajasthani school nature has been very skillfully depicted to suit the emotional
aspect of main figures. The back-ground of nature has added charm to
the main theme of the painting. Along with the trees mountains , water springs etc.
arefound in this school.
Depiction of Birds and Animals
Birds and animals have been beautifully depicted which is the effect of Mughal School.
In Mewar school elephants and horses have been speacially painted.
Night Scenes:
Night scenes have been beautifully painted in Rajasthani school. The yellow light of
the lampsis really attractive and the moon light scenes are also charming. The sky is
coloured in black and smoke colours.
Architecture
From marble to brick work all the techniques of architecture are used. In the depiction
of palacesthe effect of Mughal school is clearly seen.Big courtyards, walls and forts
have been painted.
Boating Scenes Boating
scenes are full of life and rhythm. Boat scenes are mostly painted in Kishangarh
school.
Symbolic Paintings
Radha and Krishna have been shown in the form of soul and God.
Title: - Maru Ragini
Artist - Sahibdin
Medium - Tempera on paper
Period - Early 18th Centuary.
School – Mewar
SUBJECT MATTER/COMPOSITIONAL
Maru Ragini is the painting from the series of
Ragamala painted by Sahibdin ,the court
painter of Mewar. The king with his queen is
riding on a camel against the yellow desert
background. The fore ground is painted in the
light washes of green. The camel is being led by
an attendant.
Two male escorts are running along the camel,
riding royal couple. They carry sticks in their
hands. A hunting dog is also running ahead of
those escorts. The sky is deep blue color. The
dress of all the figures are in flat colors.
Transparent white colour has been used in the
painting. Camel is well decorated. The king is
holding a flower in his right hand and looking at
the queen. On the top of the painting Maru Shre
Ragani is written. The colours are bright and
natural, which tell the story of heroines and hero.
Title - Chaugan Players
Artist - Dana
Medium - water colour
Technique -Tempera on paper
Period - Circa- 18th century
School - Jodhpur (Rajasthan)
SUBJECT MATTER/COMPOSITIONAL
The painting Chaugan Players is of a group of polo
players, all mounted on horse backs with
polo sticks in their hands. Two princesses are
playing polo with their maidsThe two horses in the
upper section of the painting are galloping towards
each other while theplayers in the lower section
are moving in the opposite directions.Their upper
bodies are twisted backward to tackle the ball with
their long polo sticks .They allare dressed in
contemporary Rajput costumes.Faces have high
rounded forehead profile. Their eyes are
elongated. Their Skirts are spread out like bells
with the movement of their action.The painting is
full of dynamic movements against a little green
landscape. Brilliantly coloured
figures create a harmonious contrast.
Title - Krishna on swing
Artist - Nuruddin
Medium - water colour ,Tempera on paper
Period - Circa- 16th century
School - Bikaner (Rajasthan
SUBJECT MATTER/COMPOSITIONAL
The painting Krishna on swing is yet another marvelous
achievement of this period The painting has two panels
depicting Krishna and Radha in two different scenes.
On the first part of the panel , Krishna is shown sitting on a
swing on the left side of the panel while Radha is sitting in
front of him in the balcony on a red carpet. They both are
looking ateach other. The swing has an ornamental border
in hexagonal shape. Krishna has shown in bluecomplex
wearing an orange coloured dhoti.
In the lower panel both Radha and Krishna are sitting in a
garden at two different places. Anattendant of Radha is
also shown in the painting who has perhaps brought a
message for Krishna.Here he is wearing dhoti of yellow
colour. Both are sitting on red carpet supported by big
pillows. Radha is wearing yellow coloured dress. Attendant
is wearing striped ghaghra and light purple coloured
blouse. Both trees and a mound in the back ground are
drawn in typical Rajasthani style .
Title - Radha ( Bani Thani)
Artist - Nihal Chand
School - Kishangarh
Period - 1760 A.D.
Medium - Tempera on paper
SUBJECT MATTER/COMPOSITIONAL
Radha Bani Thani is one of the most well known
paintings from Kishangarh. Nihalchand’s fame rests on
this painting which is highly stylized portrait of
RadhaThis idealization of Radha is the supreme
achievement of Rajasthani painting. Hence, it is called
Monalisa of India.A postal stamp of Radha Bani Thani
was issued by the Government of India.
Her half closed eye lends an enigmatic quality, the
corner of curled mouth as about to break into
a smile. Her long jet black hair flows down from
shoulder to the waist and a lock of hair is partly
falling on her cheek. The treatment of the hair is
obviously borrowed from Mughal painting of
late Aurangzeb period.She has a receding forehead,
pointed nose, pointed chin, arched eyebrow and thin
red lips. Long tapering fingers of her left hand are
holding two lotus buds while she is delicately holding
theedge of odhini by the right hand.
Title - Bharat meets Rama at Chitrakut
Artist - Guman
School - Jaipur School
Medium - Tempera on paper
Period - 18th Century
SUBJECT MATTER/COMPOSITIONAL
It is a very well executed painting of Jaipur school.
Painter Guman has done a wonderful
presentation of 49 figures on the small canvas relating
the entire story in an episodic form.The painting depicts
a scene from Ramayana, when Bharat comes to Chitrakut
to meet Rama,Sita and Lakshman with his three
mothers, Guru Vishwamitra and some courtiers.
This painting is unique for its compositional
arrangement. A new set of figures is used to depict the
each stage of the meeting. In the centre of the painting
Ram is shown fainted on hearing the news of his father’s
death. A little on the left of this group, Ram is shown
touching the feet of hisguru, Lakshman stands nearby
facing Vishwamitra with folded hands.In the foreground
is a little stream with lotus flowers and leaves. Behind a
hut , a group of lush
green banana trees is painted in the luminous shades of
green. The huts of Ram ,Sita and Lakshman stands out
against the dense and lush green forest.