A Royal Procession

A Royal Procession

 Udaipur School.  18th century AD.

        We  began our exploration of the Rajput miniatures with the Mewar School. We have come full circle with the Udaipur School. Geographically Udaipur is part of Mewar in Rajasthan.  But Udaipur School is different from the Mewar School. Having lost Chittor to the Mughals, the Ranas of Chittor settled in Udaipur. Their concerns turned from battles to royal procession and love.
      The Udaipur miniatures are easily distinguishable: the men sport heavy beards, but with small turbans called a 'paagh'. The women have long pigtails or buns as their hairstyle.  The figures are squat, at times too disproportionate and they appear like midgets.
       Here we see the Maharaja of Udaipur in a royal procession.  This painting beautifully depicts the gender divide and the social classes of its time. The Ranis, like painted dolls, are confined within the high walls of the palace. Their movements are restricted.  The  women who can break through the confines of the palace are either the royal dancer--who has broken the social norms, or the servants--who are like chattels. It is the men who can move about outside the walls. The Maharaja, with his high social status, looms large over others. The courtiers are shorter than him; the 'mahawat' (the elephant driver) is miniscule.
     This is not a painting of particular individuals.  It is a portrait of the society of its time. It has been painted keeping in mind the social status of the persons in mind. The artist is not glorifying the Maharaja.  He is revealing the social structure of his time. The painting is more than what meets the eyes.

Lord Vishnu and Goddess Lakshmi Being Entertained by Musicians

 Lord Vishnu and Goddess Lakshmi Being Entertained by Musicians

 Jodhpur School, Early 19th century. 

      Bhakti movement began in Medieval India. It continues to influence us even today. This painting places Lord Vishnu and Goddess Lakshmi in the familiar surroundings of a palace. The royal patron wants to place the divine in hia own environment. Divinity is not unapproachable.  He is here and now.
     This painting displays the classic elements of the Jodhpur School: the strong vibrant colours--the orange, the greens, the yellows and the blues, the women with 'pan like' eyes, with hair tied in a small bun, the hair near the ear falling in ringlets,  and the translucent chunnis.
The colours add a sense of liveliness to the painting;  the  symmetrical composition gives the painting a sense of balance and serenity. All is well where there is divinity is the message of this painting.

Thakur in Durbar

Thakur in Durbar

Jodhpur School.  ca. 1760 AD.

      Stripped of the opulence of a Mughal court, here a Noble man (a thakur) sits with his courtiers. All of them sit on a yellow rug. The canopy is only over the Noble, pointing to his higher status. Only three persons have feathers in their turbans. Again revealing their higher status than the rest of the courtiers. The servants stand with sword and shield and wine bottle and glass--all the things loved by the ruling class. The scene may be of 'basant panchami' as all the coutiers hold a yellow flower which they offer to the nobleman.
      Jodhpur miniatures are easy to recognize. Men sport huge turbans, unlike turbans worn by figures in other Schools of miniature paintings. They also display long sideburns which end up in fan shapes. They also have beards unlike Kishangarh where men are clean shaven. Men and women are sharp featured. Their eyes are large and "pan" like ( like beatlenut leaf). The paintings are done in bright colors as in here in bright yellow and green and orange.
    The painting again depicts the robustness,  the sturdiness, the valour of a warrior clan.

Maharaja Man Singh of Jodhpur in procession

Maharaja Man Singh of Jodhpur in procession

Jodhpur School, 1820-1830 AD.

       Jodhpur School is one of the most prolific Schools of miniature paintings. It embodies all the Rajput concerns for a robust life: hunting, royal processions,  dallying with royal women, court scenes etc.
      Here we see the Maharaja in a procession.  The Maharaja and his stallion overshadow the other figures. While his horse gallops,  the royal family, consisting of a prince and two Ranis ride in the bullock cart on the right side of the painting. 
       The painting is not only  portrays the Maharaja,  but it also depicts the social hierarchy of the people.  While the Maharaja looms large, the courtiers are short, the soldiers are midgets. The women are miniscule in size. Although the landscape is bleak, the camel and the horse, the banners and the trumpet add liveliness to the scene. This painting reveals the joy of life the Rajasthanis have enjoyed despite the harsh conditions of the Thar desert.  It is an ode to their hardiness, courage and valour.

Princess Looking into Mirror

Princess Looking into  Mirror

by Nathu, Bikaner School, 1665 AD.

       Bikaner School was heavily influenced by the Mughal miniatures as is reflected in this painting.  All the three women wear muslim dresses: a 'peshwaz' (gown), 'churidar' pajamas and 'dupatta'. The maid holding the flywisk wears a muslim cap. The setting of the painting is also Mughal, with the Cyprus tree in the background and the rows pf flowers in the foreground.
      The Bikaner miniatures are distinguishable from the Mughal ones. The Bikaner artists contrast areas of bold colours with areas of pastel colours. In this painting the bold orange of the carpet is in contrast witth the mint green of the sky. The dark green of the mango tree is in contrast with the pinks of the dresses worn by the women. The use of the pastel colours give the paintings a feeling of being quiet, serene, harmonious.
       The theme of the painting is bit unclear.  Is it a princess who is sitting in her garden, perhaps waiting for a lover, or is it Ragani Vilaval which is generally depicted as a woman looking into a mirror. A woman looking into a mirror is a common theme in Indian art. It is as much about 'shringar' ( about adorning oneself, about self-indulgence) as it is about introspection,  reflection about reality about searching for the divinity which resides within each of us.

Ladies of the Zenana on a Roof Terrace

Ladies of the Zenana on a Roof Terrace

by Ruknuddin, Bikaner School, 1666 AD.

       Bikaner School is a fascinating one as it passed through different phases. It was initially influenced by the Malwa-Mewar, then by Mughal (as here in this painting), by Deccani School, and for some time by Kishangarh School.  It was, thus, eclectic and cosmopolitan in its taste.
        Ruknuddin, one of the most famous painters of Bikaner, worked under Raja Anup Singh of Bikaner. When Raja Anup Singh went to Deccan, Ruknuddin went with him. He was also influenced by the Deccani School of miniature painting.
       Ruknuddin's paintings are known for their luminescent colors, for their slim, but squat women,  for their secular scenes. His women tend to be squat, with slightly bigger faces, and small shoulders.
        This painting depicts a scene of the Zenana, where the royal women are enjoying wine and music. It a summer evening,  the fountain is flowing, the music is echoed, wine is being served. A woman in the center offers wine to her companion. Another woman, holding a mirror,  looks out at us. She seems bit dazed. A few art historians interpret the scene as showing the prevalence of lesbianism in the harem. There are paintings of other Schools which are more explicit on this theme.
       Unfortunately, Bikaner miniatures are no longer available in India. Most have been sold to museums and private collections. There are hardly any scholarly works on the Bikaner School. We have lost a national treasure.

The Meeting

The Meeting

Jaipur School, 1780 AD.

        This is an unusual painting of the Jaipur School.  For it shows a great influence of European art. The deep perspective,  the city nestled amongst the mountain,  the shield like hat worn by the prince are derived from western paintings.
       Yet there is something authentically indian about the painting.  It is the symbolism which is prevalent in the painting. The indian artist is not interested in capturing the reality, but is concerned with the inner psychology of the character. Here we see the meeting between the prince and the Nayika. The torrential rains, the lightening symbolises the passionate love they have for each other. The chirping birds in the tree symbolise the  unspoken words between them. Despite the inclement weather the lovers are meeting. Love knows no bounds. But this painting does not depict  mortal love affair, but a divine one. Notice the Shiv temple hidden amongst the folliage of the tree. The Shiv Ling is a symbol of the divine union which creates the universe.