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.

Sawai Jai Singh

Sawai Jai Singh

Jaipur School,18th century 

     Sawai Jai Singh is perhaps the first modern ruler of India. With a sharp intellect, with scientific temperament,  he constructed not only observatories,  but also found Jaipur, the capital of Rajasthan. Besides his intellectual qualities,  he is also famous for his military strategies.  He waa a great general who helped stabilise the tottering Mughal empire.
      In this portrait,  we see him as a simple person. He does not display the ostentatious robes and jewels of the Mughal emperors.  It is the halo behind his head which reveals his royal status.
      Jaipur School is known for its portraits.  The portraits are dignified, poised, and formal. They are influenced by the Mughal portriture, but are devoid of its political propaganda.  The portraits present the ruler as a raja of the common man. The concern for the people is a hallmark of the Jaipur rulers.

Musicians

Musicians

Jaipur School,  18th century AD.

     Like Bundi, the Jaipur School also went through different phases. It too was initially influenced by the Mewar School. But later it was influenced by the Mughal School as is apparent in this drawing. The uniqueness of Jaipur School is its controlled line quality. It is neither as flowing as Kishangarh' line, nor as melodious as Bundi School' lines. It is an uninterrupted,  controlled line which defines the figures. The Jaipur miniatures neither have the lyricism of Bundi, nor the robustness of Kota School. Jaipur School has a sense of coldness and precision.  Its development is yet to be studied fully.
        The Jaipur miniatures can be identified by the large almond eyes. Unlike the eyes of Bani Thani, which curve upwards,  the eyes in Jaipur miniatures are large, but straight.  The women generally have a small but tight bun as their hairstyle. The themes range from portraits of Maharajas to Baramasa ( paintings about the twelve months) to stories about the gods and goddesses.  Jaipur School is not as well known as other Schools of Rajput miniatures.

Radha and Krishna

Radha and Krishna

Kishangarh School,1750 AD.

     Once developed by Nihal Chand, the stereotype image became the hallmark of the Kishangarh School.  From prince to pauper,  from princess to maids, they all had the same face, dress, ornaments.  This is called 'stylization' in art. There are no individual portraits as in Mughal paintings. There are ad infinitum depiction of ideal beauty. Like the Bundi School,  the Kishangarh miniatures are also known for their depiction of romantic scenes.
      As here, the nayak and nayika are Krishna and Radha. In this painting Krishna offers a beetle leaf (pan) to Radha. Both sit coyly,  in the warmth of each others company.  Interestingly,  Krishna wears a Mughal dress instead of his usual yellow dhoti (pitambar dhoti). He looks more like a Mughal prince than a God.
        Radha is in all the finery of a Rajput princess.  This painting clearly depicts the influence of the Mughal court on the courts of Rajputana.
     The serenity, tranquility,  the poise of the figures,  the beauty of the moment takes us to another worldly leve: the soul and the God have become equals. Where it is the God who presents an offering to the soul, to His soulmate--Radha. The equation has changed.

Radha

Radha

by Nihal Chand, Kishangar School, 1760 AD.

     Considered to be the 'Mona Lisa' of Indian art, this is a 'portrait' of Bani Thani, a courtesan of Kishangarh. The Maharaja of Kishangarh was in love with Bani Thhani. He also wrote beautiful poetry about the love between Lord Krishna and Radha. Thus, Bani Thani is depicted as 'Radha'.
     This is an extremely 'stylized' portrait of a person. In fact it is so stylized that it became the hallmark of the Kishangarh School. The sharp featured face, with acquiline nose, upturned eye, high arched eyebrows, thin lips, a sharp chin, flowing hair, large earing, translucent chunni, bejewelled,  and slender henna colored fingers. Many people fail to see the beauty in this face due to its disproportionate and angular face. But the artist has merely distilled the 'Rajput' concept of beauty. A sharp featured woman, with sharp nose, thin lips, big eyes, and with arched eyebrows.
     It is a portrait of a coquettish woman who has lowered her eyes pretending to be aloofish yet listening to every word of her lover. It is a portrait of serenity, peace, and harmony. It is not a portrait of an individual,  but of an ideal beauty.

     Many people confuse the Kishangarh miniatures with Kangra miniatures.  But the above mentioned features distinguish the two. This stereotype image became the leitmotif of the  Kishangarh School.

Ram Singh I of Kota Hunting Rhinoceros

Ram Singh I of Kota Hunting Rhinoceros

Kota School,1700 AD.

      Animals have fascinated the artists throughout history.  They are depicted on caves to palaces. The elephant has caught the imagination of the indian artists. Considered to be the wisest of the animals, Lord Ganesh, the god of wisdom, in the Hindu pantheon, is elephant headed.
        Like the Mughal School, the Kota school has excelled in depicting the elephant. But while the former School has caught the majesty of the animal, the latter has emphasised the comic part of the animal. The elephant is round bodied, corpulent,  cumbersome,  comical. But in this painting, the artist has depicted the strength,  the agility, the force of the animal. The elephant has caught the rhinoceros with its trunk. The rhinoceros is devoid of any strength. The speed, the thumping, the thrust of the spear, the fight between man and nature has been transformed into a lyrical poetry of lines and colors, of shapes and shades. This painting is a tribute to the genius of the Kota master artists.

Kamabhisarika Nayika

Kamabhisarika Nayika

 Kota School,  17th century AD

     Kota was formed by the Mughal Emperor Jahangir by bifurcating Bundi. Kota School of miniature painting owe their origin to the Bundi School.  Stylistically they are similar. But there are certain differences. The Kota figures are also squat, but the linear quality is less pronounced. The female figures neither wear the translucent chunnis, nor keep their hair open, as do the Bundi women.  The Kota School is less romantically inclined than Bundi. Instead Kota has concentrated more on hunting scenes and on elephant fights. Kota is more on masculine themes; Bundi on feminine sensibilities.
   Keshavdas, the famous poet from Orcha, wrote his Rasikpriya, in early 17th century.  Considered a classic on love poetry or in 'Shringar rasa' it became an instant hit with musicians,  dancers and painters. Keshavdas has classified Nayika into different classes. Here is one who is driven by her passion to meet her lover. Since both are passionate,  they are painted in hot colors of red and orange and yellow.  Unmindful of the dangers, the Nayika walks through the forest.
      When she reaches the Nayak, he asks her, " how did you manage to reach me through all the dangerous beasts?"
She says, "I didn't notice them, as your thoughts were my companion."
      When lost in the thoughts of divinity, we too do not notice the troubles of the world, as thoughts of Him are our companions.

Sunburst and Angels

Sunburst and Angels

a painted roof in the Bundi Palace
18th-19th century.

      The Bundi Palace has beautiful paintings practically in every room. This is one of the best well preserved paintings in a room. Painted on the roof, it depicts a sunburst with two angls. Surprisingly, the angels are painted as though taken from Persian art. The painting is extensively done in gold. The Rani's bedchamber is also done in gold. But unfortunately this part of the palace is closed. It is open only for bats, rats, lizards and cocroches.  The window of the room, where this painting is, is broken. The wind, water and air have easy access to these paintings. The national art treasures of this palace have been abandoned to time. But this time, time may not heal; it may destroy the art treasure.  We continue to be oblivious of our history and ignorant of our art.

Ragani Todi

Ragani Todi

from Chitrashala of the Bundi Palace
 18th century AD.

       In the Mahabharat and Ramayan it is mentioned that the palaces had a gallery for paintings called "chitrashala". Bundi Palace has the only living example in India. A portion of the palace is devoted only to paintings. This portion has paintings on different themes painted on the walls: Ragmala, religious paintings, Barahmasa ( depicting the twelve months). These are not frescoes,  which are painted while the plaster is still wet. These are murals which are painted after the plaster has dried.
       Since these paintings are done predominantly in bluish-green colors, the general impression is that the pallet of the Bundi artist was a limited one. But this is untrue.
         Here we see Ragani Todi. Ragani Todi depicts the pathos of separation between the lovers. The nayak ( the hero) is away. The nayaka (the heroine) plays the sitar or the vina (a string instrument) while lost in the thoughts about her lover. The beautiful melody attracts the deers, fauns or black bucks from the forest who have come to listen to the soulful music. The deer also symbolise the missing nayak. This iconography for Ragani Todi is prevalent in all the Schools of miniature paintings. Thus, the Ragani is easily identifiable. 
        Here using the bluish-green color, the artist has heightened the pathos of separation.  He has caught the essence of the Ragani, the musical mode.

A Painted Room in the Bundi Palace

A Painted Room in the Bundi Palace

 17th century.

       Bundi School had an extremely colorful phase. This room in the Bundi Palace is a glaring example of it. It is said that this room was painted by Chinese artists as there are images of dragons and of phenoix. But what one sees in the upper part of this picture is a scene of the Raslila performed by Lord Krishna and the Gopis.
         Interestingly instead of depicting the Raslila at night, as it is usually depicted,  here the artist paints it with a background of red color.  The artist has used the color symbolically to portray the deep love that existed between Lord Krishna and the gopis. The love between the god and the soul is selfless, boundless and pure. It follows  no rules or regulations; it does not adhere to any creed. It is pure 'bhakti' (devotion).
           While Bundi miniatures are famous for its deep romanticism,  it is also capable of depicting pure metaphysical thoughts.

A Glimpse of the Lover

A Glimpse of the Lover

Bundi School
Mid-18th century AD

         The Bundi artists were the first one to refine the art of miniature.  They transformed the archaic figures of Malwa and Mewar into the delicate and lyrical figures. The palette became more sophisticated with contrasting color scheme and subtle shading of the figures. The hues of the same color are awe inspiring. The theme of love between the nayak (the hero) and the nayaka ( the heroine) dominates the Bundi School. In fact Bundi is known for its "lush romanticism".
        Here we see the nayaka has just finished her bath. She is busy getting ready. While her maid shows her the mirror,  the nayaka suddenly sees the face of her lover in the mirror.  Startled by his sudden presence,  she tries to hide her semi-nakedness. The nayak peeps from the window, delighted to have caught his beloved off-guard. Theirs is an innocent yet mischievous game. But the artists leaves it to us to guess whether the presence of the nayak is real or a figment of the nayaka's imagination.

Ragani Khambhavati

Ragani Khambhavati

Bundi School.
Painting by Shaikhs Hasain, Ali and Hatim. 1591.

       Bundi school School has its roots in the Mewar School of miniatures. But soon it devrloped its own vocabulary,  its own color scheme and its own sophistication.  It went through different phases which are yet to be fully analysed and understood. It is a fascinating School of miniature paintings, but hardly explored by art hiatorians.
       In this painting we can see the affinity with the Mewar miniatures.  The setting, the figure of the woman remains the same. But now there is more detailing of the building,  more designs in the setting.  Rather than the simple primary colors of Mewar, the Bundi palette is more subtle,  more sophisticated: there are pinks, mauves, oranges and blues and greens. The artists have beautifully contrasted areas of complex designs with the plain areas of the white wall. The central characters are in the plain areas.
        The painting belongs to a Ragamala series. The woman is shown performing a yagna (worshiping through fire) for Lord Brahma. Being a God, Lord Brahma is shown as larger than the woman. The woman personifies the Ragani. Although Lord Brahma wears a 'dhoti', his crown is borrowed from the helmet worn by the Muslim soldiers.  One can discern the influence of Akbar's court on the Bundi court. The foundation of Ganga Yammuna 'tehzeeb' is being laid in the 16th century; a foundation we have inherited and must build upon for our future generations

Rasikapriya

 

Rasikapriya

by Sahibdin
Mewar School
17th century AD.

Keshavdas' Rasikapriya was a popular book in the medieval period. It was a source of inspiration for many artisits both in the Rajput and the Pahari Schools.

Shibdin is one of the few known artists of the Mewar School. His paintings show the influence of both Malwa School and of early Mughal School. The architectural setting, the bright colors, the flatness of the space are borrowed from the former School;  the faces of the women, their transparent chunnis, are from the latter School. But the ethos is typically Hindu.
          The Nayak, painted in blue color, is Krishna. He has arrived at Radha's house where he will find her playing 'chausar' with her friends. Sahibdin has caught the relaxed mood of the moment.  Notice the two birds in the cages, perhaps pointing to the two love birds, Krishna and Radha, who are yet to be united. Radha playing chausar, a game of dice and luck, as much of a gamble as is love.