Maru Ragini

Maru Ragini is a famous miniature painting of the Mewar School of Rajasthan, painted by Sahibdin in the 18th century CE. It
is made using tempera colours on paper and is preserved in the National Museum, New Delhi.

The painting belongs to the Ragamala tradition and depicts a royal couple riding a decorated camel through a desert
landscape. It symbolizes love, longing, and devotion (Shringara Rasa). The attendants accompanying the couple emphasize
their royal status.

The artist uses bright colours, fine detailing, and a sense of movement to make the scene lively. The deep-coloured
garments, ornaments, and Mughal-style turbans reflect the influence of Mughal art.

Thus, Maru Ragini is an excellent example of the beauty and artistic excellence of the Rajasthani School of Miniature
Painting.

Painter: Sahibdin School: Mewar (Udaipur) Medium: Tempera colours on paper Theme: Love, longing,
and devotion in the Ragamala tradition.

Chaugan Players

Chaugan Players is a famous miniature painting from the Jodhpur Sub-School of Rajasthan, painted by Dana around 1750
C.E. It is made using watercolours on paper in the tempera technique and is preserved in the National Museum, New Delhi.

The painting depicts six royal princesses playing Chaugan (polo) on horseback. It reflects the aristocratic lifestyle, recreation,
and vitality of the royal courts. The horses are shown in dynamic motion, creating a sense of energy and movement.

The artist uses rich colours, detailed costumes, jewellery, and Mughal-influenced accessories to highlight the elegance of
the princesses. The green-yellow background and crossed polo sticks draw attention to the centre of action.

Thus, Chaugan Players is an excellent example of the Rajasthani School of Miniature Painting, showcasing royal leisure,
grace, and artistic excellence.

Painter: Dana Sub-School: Jodhpur Medium: Water colours on paper

Technique: Tempera Theme: Royal sport, recreation, movement, and aristocratic life.

Radha (Bani-Thani)

Radha (Bani-Thani) is a famous miniature painting of the Kishangarh School of Rajasthan, painted by Nihal Chand around
1760 C.E. It is made using water colours on paper in the tempera technique and is preserved in the National Museum, New
Delhi. The painting portrays Radha as an ideal symbol of beauty, grace, love, and spiritual devotion. She is shown with
elongated eyes, arched eyebrows, a pointed nose, and delicate features, which are the distinctive characteristics of the
Kishangarh style.

The artist uses soft colours, fine detailing, rich jewellery, and elegant attire to enhance her beauty. The dark background
creates a calm and dreamlike atmosphere, highlighting Radha’s divine presence.

Thus, Radha (Bani-Thani) is considered the "Mona Lisa of India" and is one of the finest examples of Rajasthani miniature
painting.

Painter: Nihal Chand Sub-School: Kishangarh Medium: Water colours on paper

Technique: Tempera Theme: Ideal beauty, love, and spiritual devotion.

Bharat Meets Rama at Chitrakuta

Bharat Meets Rama at Chitrakuta is a famous miniature painting of the Jaipur Sub-School of Rajasthan, painted by Guman
in the 18th century C.E. It is made using water colours on paper in the tempera technique and is preserved in the National
Museum, New Delhi.

The painting illustrates a scene from the Ramayana, where Bharat meets Rama at Chitrakuta and requests him to return to
Ayodhya after the death of King Dasharatha. The artwork depicts deep emotions such as love, duty, grief, and devotion.

The painting contains many human figures shown in simple poses, reflecting the Jaipur style. Trees, huts, flowers, and the
natural landscape add realism and beauty to the composition.
Thus, the painting is an excellent example of Rajasthani miniature art, portraying an important episode from the Ramayana
with emotional depth and artistic skill.

Painter: Guman Sub-School: Jaipur Medium: Water colours on paper

Technique: Tempera Theme: Bharat's meeting with Rama, devotion, duty, and family values.

Krishna on Swing

Krishna on Swing is a famous miniature painting of the Bikaner Sub-School of Rajasthan, painted by Nuruddin in the 18th
century C.E. It is made using water colours on paper and is preserved in the National Museum, New Delhi.

The painting depicts Lord Krishna seated on a swing while Radha waits below, expressing love and devotion. The scene is
set in a beautiful garden and reflects the Shringara Rasa (romantic love) and the joy of the monsoon season. The artist uses
bright colours, delicate ornamentation, elegant figures, and detailed trees and architecture to create a graceful
composition. The painting beautifully captures the emotional bond between Radha and Krishna. Thus, Krishna on Swing is
an excellent example of Rajasthani miniature painting, combining devotion, romance, nature, and artistic beauty.

Painter: Nuruddin Sub-School: Bikaner Medium: Water colours on paper

Theme: Divine love, devotion, and Shringara Rasa.

Krishna with Gopis

Title: Krishna with Gopis Artist: Manaku Sub-School: Basohli School (Pahari School)

Medium: Water colours on paper Technique: Tempera Period: c. 1730 CE

Description of the Painting:

Krishna with Gopis is a famous Basohli miniature painting based on the devotional themes of Geet Govinda. The painting
depicts Lord Krishna standing at the centre, surrounded by eight Gopis who express their deep love and devotion towards
him. Krishna's blue complexion, rich ornaments, and royal attire make him the focal point of the composition. The Gopis are
shown in colourful garments and graceful poses, creating a lively and harmonious scene.

The painting is characterized by bold outlines, bright and vibrant colours such as red, yellow, and blue, and large expressive
lotus-shaped eyes, which are typical features of the Basohli style. The background contains beautifully rendered trees and
natural elements that enhance the decorative effect. The composition conveys both romantic charm and spiritual devotion,
symbolizing the eternal bond between Krishna and his devotees.

This painting is an excellent example of the Basohli School, known for its emotional intensity, rich colours, decorative
beauty, and strong devotional themes. It successfully combines artistic excellence with spiritual expression.

Nand, Yashoda and Krishna with Kinsmen Going to Vrindavana

Title: Nand, Yashoda and Krishna with Kinsmen Going to Vrindavana

Artist: Nainsukh Sub-School: Kangra School (Pahari School) Medium: Water colours on paper
Technique: Tempera Period: c. 1785–90 CE

Description of the Painting This painting illustrates a scene from the Bhagavata Purana, depicting Nanda, Yashoda, Krishna,
Balarama, and their relatives migrating from Gokul to Vrindavana. Concerned about the dangers and demons troubling
Gokul, Nanda decides to move the community to a safer place. The painting shows a lively procession of people, bullock
carts, animals, and household belongings travelling together.

Nanda is shown prominently seated under a red-canopied bullock cart, while Yashoda and other family members
accompany the journey. Krishna and Balarama are depicted among the travellers. The composition is crowded yet well-
organized, reflecting the spirit of community life and collective effort. Cows, oxen, villagers, and children add realism and
movement to the scene.

The painting displays typical Kangra characteristics such as fine lines, graceful figures, natural landscapes, harmonious
colours, and delicate detailing. Trees, hills, and open spaces create a peaceful background that enhances the narrative
quality of the work.
The painting symbolizes family unity, devotion, responsibility, and faith, while beautifully portraying rural life and the artistic
excellence of the Kangra School

Highlights of Pahari Sub-Schools

Basohli Art

 Origin: Developed in Basohli around the 17th century.

 Style: Bold, vigorous, and expressive.
 Features: Strong lines, bright colours (red, yellow, blue), geometrical stylization of figures.
 Themes: Ras-Manjari, Ramayana, Geet Govinda, Ragamala.
 Speciality: Square-shaped paintings with decorative backgrounds of hills, rivers, and clouds.

Guler Art

 Origin: Evolved in Guler in the early 18th century.

 Style: Soft, naturalistic, and graceful.
 Features: Realistic human figures, tender facial expressions, delicate colours.
 Themes: Portraits, Radha-Krishna love stories, court scenes, religious narratives.
 Speciality: Emotional depth and Mughal influence blended with local sensitivity.

Kangra Art

 Origin: Flourished under King Sansar Chand in the 18th century.

 Style: Soft, lyrical, and naturalistic.
 Features: Graceful figures, delicate colours (red, yellow, blue), fine lines, panoramic landscapes.
 Themes: Radha-Krishna love stories, Rasik Priya poetry, romantic legends like Heer-Ranjha.
 Speciality: Natural beauty, emotional tenderness, and lush greenery.

Chamba Art

 Origin: Developed in the Chamba region.

 Style: Decorative and expressive.
 Features: Unusually tender figures, bright red and blue colour usage.
 Themes: Mainly portraits, especially of charming women.
 Speciality: Bewitching female figures and emotional charm.

Garhwal Art

 Origin: Influenced by the Guler style.

 Style: Systematic, refined, and expressive.
 Features: Clear expressions, charming use of soft colours, symbolic designs.
 Themes: Religious and romantic subjects.
 Speciality: Tenderness of beauty, clarity of emotions, and symbolic presentation.

Mandi Art

 Origin: Unique contribution of the Mandi region.

 Style: Mystical, powerful, and dramatic.
 Features: Strong use of dark black, red, and blue colours.
 Themes: Tantric forms of goddesses and mystical subjects.
 Speciality: Intense spiritual mood and dramatic expressions.