History of Indian Art

(For class 12, Subject- Painting, Code - 049)

UNIT-1
Short notes on Evolution of Art in India:
In India the evidence of cultural advancement reflected from the time of ndus Valley
Civilization like planned cities, well-developed drainage system, architectural advancement
and techniques of casting the metals in different forms. Some evidences of Art works are
concerned to life of the cave-men but cultural development here seems in initial stage
Historical evidence ensures us about the gradually development of art and culture during
Maurya period, Sunga period, Kushana period, Gupta period and Architectural development
during Sultanate period.
The new trends /era came in existence as the Evolution of Art in india and started new
style of painting during Pala Dynasty of West Bengal and Jain Manuscripts in Gujarat region
that is called
the Miniature Painting This new style of painting had been widely spread
almost allver India with regional specification as Deccan Style, Mughal Style, Rajasthan
Style, Pahari Style and Middle India Style of Miniature Paintings.
Miniature means mini or small in size but paintings of this style were with minute details.
Cloth, palm leaves and later on paper were used to delineate the picture for books of
manuscripts.
During the British Empire, the indian Arts had been destroyed by the British deliberately and
propagated that Indian Arts had no specification. But during a short period of time, Indian
Artist of Bengal School had tried their best to establish new Style of Art in respect of
Western style of art which is known as Modern or Contemporary Style of Art.

Describe the origin and Development of Miniature Painting in India:

The Miniature Paintings style were introduced In india in the second half of the 10th century
A.D. "Pragyaparmita' is a Buddhist manuscript which was painted as miniature on the leaves
of palm trees around 999 A.D. This is the first source of miniature painting known so far.
Besides, some of the Kalpsutra paintings were painted on palm tree leaves as well as on the
strips of cloth. Kalpsutra tradition remained effective till the 15th century A.D. The "Mandu
Kalpsutra' of 1439 A.D. was prepared for a Jain ascetic
In the 14th century palm leaves were replaced by paper. Some new minerals colours and
dyers were included in previously used colours. The paper became an access of revolution
in the entire art-kingdom. Along with religious movements, demand for the portraits of the
gods and goddesses started increasing. Consequently, the painting was changed into a
profitable business.
A big part of miniature paintings is conserved in the form of "Portraits'. Portraits were first
promoted by Akbar but women painting was not allowed (except professional dancers).
With the portrait of queen Noorjah an,Jahangir promoted women-portraits. Family albums
also came into existence
Preliminary miniature paintings are counted in Pala and Jain styles, whereas the afterwards
paintings are classified in Mughal, Rajasthani, Pahari, Deccan and Middle india styles or
Schools of Paintings.

Short notes on Pal School and Jain School of Paintings:

Pal School of Painting based on incidents of Lord Buddha's life, a lot of short stories had
been painted between the 8th and 11th centuries in Bengal and its surrounding area.
Because these paintings were made in patronage of the kings of the Pal Dynasty, these are
called the Paintings of Pala Style.
Jain School of Painting in the painted pages of Kalpsutra' there are the pictures of
preceptors (tirthankars) as Mahavira, Parshvanath and Neminath. These pictures are
narratives which have been painted on both palm leaves and cloths.
The Characteristics of the Paintings- Abundance use of gold, dark colours, biting bend of
lines, rhythmicity and splendor corner liveliness in Jain paintings. Dwarfish women and men,
angular faces, eyes peeping out from faces, sharp noses and costly cloths are the
characteristics of these paintings

About Six Limbs of Indian Painting:

During 200-300 A.D. Vatsyayana, having studied all the important books as 'Shastras' and
he wrote gist of all the learning's ordained by the shastras, and complied them in his famous
book 'Kamasutra', In which 64 types of arts have been described, out of which painting has
been ranked on fourth place. It was a fully developed art with six limbs of painting
(Shadangas).
Roop Bhedah Pramanani Bhavlavanya yojnam I
Sadrishya Varnikobhang iti chitra Shadongkam #
According to the couplet, 'Six Limbs of Art' have been described as followed:
1. Roop Bhed: Capability to differentiate among the Scene observed by an artist, about
various segments of sight scenes/objects.
2. Praman: Proportion or exact ratio. It is the Proportional measurement of different
objects.
3. Bhav: Expressions. It is the action of feelings of the artist's heart reflected in his creation.
4. Lavanyayojna: Infusion of grace or knowledge of beauty. It should be reflected in the
painting.
5. Sadrishya: Actuality in the view. Reality should be reflected in the creation of an artist.
6. Varnika Bhang: Colour variation. Better combination of colours makes a painting
attractive and perfect.
No picture/painting can be perfect unless an artist or painter uses all these six aspects of
painting in his creation.
 Rajasthani School of Miniature Painting

Describethe Rajasthani School of Miniature Painting:

Origin and Development: In the beginning of the 15th century, the delineation of miniature
paintings in the Jain Kalpsutra style was started in Mewar (Udaipur), Rajasthan. It is the
collaboration of specific elements of local folk arts and the great art traditions of Ajanta and
Gujarat. The painting of 'Palam Bhagwat' of 1555 A.D., in which the basic art-style of
Rajasthan has been presented in pure form.
Specialties of the miniature paintings painted in this region: Sentimental faces, sharp
features, imposing figures,presenting different humanly emotion, potential underlining and
warm, primary colours showing unique richness.
Depiction of Theme: These miniatures based on Ragamala, Nayak-Nayika-Bhed, Barahmasa,
Ramayana, Rasikpriya, Bihari-Satsal, legendary of lovers like Dhola-Maru and Laila-Majnu,
Vishnu-Dasavatara, Rasamanjar, Krishna-Lila etc. are narrative whereas scene of durbar,
hunting, festivals, sporting, royal processions and ceremonies.
On the basis of geographical diversities and local interests, the art of Rajasthan can be
classified into several Sub-schools of miniature paintings.
1 Mewar (Udaipur) Sub-school of Miniature Paintings-In the beginning of the 15th
century, miniature paintings were painted in Mewar area. Its most developed form can be
seen in the paintings of "Palam Bhagvat'. There are some other paintings based on the
themes of the painters 'Sahibdin' and "Manohar. They painted paintings based on
Bhaktiropatras, Panchvyakhyanoropatra, Banbhbhedropatra and the Ragas.
2. Bundi Sub-school of Miniature Paintings-The first miniature painting of Bundi style
was painted in Chunar in the form of Ragmala series of paintings. The art skills of Bundi style
are unique due to the conjugation of the Mughal and the Deccan art elements. But, Bundi
has a well-practiced hand in portraits.
3. Jodhpur Sub-school of Miniature Paintings- Jodhpur got art tradition in heritage from
Mewar. In the beginning of the 17th century, it was known for Pali Ragmala paintings. Pure
indigenous delineation is the stylistic characteristic of these paintings
4. Bikaner Sub-school of Miniature Paintings - There is abundance of elements of the
Mughal art, because the painters of the Mughal court came to Bikaner. These painters
accepted the tradition of Bikaner style of painting. Ali Raza, Master Sahibdin, Ruknudin,
Nurudin and Murad were the famous painters of this sub-school.
Euhechol of Mieiature
Miniature Paintings
Paintings -Mysterious beauty ofadhala
women ist
is the life
kisnangamsus
of Kishangarh style of painting. The immotal paintings like Bani-Thani (Radha) and the king
of Sawant Singh are the identity of Kishangarh style. Bhawani Das, Surat Ram and Nihal
Chand were the famous painters of this sub-school.
6. Jaipur Sub-school of Miniature Paintings -In Jaipur, this style of miniature painting got
patronage in the region of king Sawai Jai Singh. Live shapes and hunting scenes is the
identity of Ajmer-Sawar. Other centres of this sub-school are lalor, Jaisalmer and Puskar.
7. Kota Sub-school of Miniature Paintings -There are some stylistic and topical similarities
between the styles of Kota and Bundi. But Kota style has excellence in painting of Baramasa.
 Write the main features of Rajasthani School of miniature painting.
1) The Indian indigenous style of Rajasthani paintings shows bold outline and briliant colour
in a harmonious pattern.
2) The composition is very clear and simple which based on puranic and epic. Krishna Leela
is most popular theme along with some stories of Ramayana and Mahabharat. Paintings are
also based on life of common people and local love stories. Love story of Dhola Maru and
rupmati Baj Bahadur are also illustrated in this painting
3) All figures are in same dimension without perspective women figure are duplicate in
same manner. Lotuseyes flowing dresses, cylinder waste and Rory hands are the main
features.
4) Paintings are two dimensional. Faces are gently shown in profile.
S) Mail use loose fitting garments, embroidered Pataka and turban.
6) Female use loose long Ghagra, choli and transparent odhni.
7) The female figure has been drawn relatively smaller than male.
8) Flat colour scheme has been used, Different colour has been used with distinct meaning
as read depicts worm, emotion and Fury, yellow the marvellous, Brown the erotic. The use
of red, blue, yellow and green colour gives a contrasting brilliance, gold and silver colour
have been used which added special glamorous to these paintings.

Study of the Miniature Paintings of Rajasthani School (Short notes)

Painting of Raja Aniruddha Singh Hara- This painting was painted by Utkal Ram of
Bundi sub-school in the beginning of the 18 century in medium of water colour on paper
with Tempera technique and it's collected in National Museum, New Delh
in this painting.a young Rajput king has been shown wearing decorated apparels, Jewels
and a wonderfuly decoratedturban of Mughal style on his head. The particular attraction of
this painting is the stralt stretched tail of the horse. All the ornamental elements in the
painting have been painted in red, oange and yellow-brown colours. The king is holding the
rein of his white horse in his left hand and in right hand holding a beautiful flower.
In the b
background of the painting. the combination of deep colours has been used in such a
way that the main object seems protruding and centring the attention of the people.

Painting of Maru-Ragini- This painting was painted by Sahibdin of Mewar (Udaipo

sub-school in 18th century in medium of water colouron paper with Tempera technique and
it's collected in National Museum, New Delhi.
Maru-Ragini is an important miniature painting of 'Ragmala' series painted by a courtier
painter of Mewar. The king and the queen are shown riding on a camel back in deset
background. The camel is sown in running position and fully decorated. An
proceeding ahead of the camel, while two male escorts with swords. A white hound has
been shown running ahead of both the escorts.
In the background, to show winding surface effect with green and yellow colours. AlI the
human figures have been shown wearing deep-coloured apparels except king and turbans of
Mughal style on their head. The calligraphic work in Devnagari Script has also been done on
the top of the painting

Paintingof Krishna on Swing- This painting was painted by Nuruddin of Bikaner sub
school in 1683 A.D. in medium of water colour on paper with Tempera technique and it's
collected in National Museum, New Delhi.
The painting has two panels- in left side of the upper panel, Krishna has been shown sitting
on an ornamented base of a hexagonal swing, His upper half blue coloured body is almost
naked but few ornaments shown around his neck that hanged on the chest and an
ornamented crown has also been shown on his head. He has worn an orange-coloured
printed cloth called Dhoti.
Krishna is intently looking towards Radha sitting in a balcony of his right side. Radha has
worn traditional Ghaghara and Chol. She is sitting on a red carpet, is looking towards
Krishna. To ease the bodies of both Radha and Krishna, in the back side, are put round
pillows (musnad).
In lower panel of the painting. Radha and Krishna have been shown sitting separately on red
Dresser:
carpets under a tree. are similaras upper panel only Krishna's dhoti has been shown
yellow. In this panel, Radha's attendant has been shown standing beside Krishna.
Clumps of trees and their leaves with wonderful painting have been also shown; artist has
also painted the architecture very beautifully. Placid and bright coloring is the distinguished
feature of Bikaner style.

Painting of Radha (Bani-Thani]-This painting was painted by Nihal Chand of

Kishangarh sub-school in 1760 AD. in medium of water colour on paper with Tempera
technique and it's collected in National Museum, New Delhi.
Radha (Bani-Thani) of Kishangarh is the famous miniature painting of Rajasthani School. The
Government of india had issued a postal stamp on this miniature painting.
In this artistic portrait, Radha is smiling mysteriously and her eyes with womanly beauty are
worth, her face has been shown large in size. The nose is long. sharp and pointed. The
arched eyebrows and lips have been shown thin and red. She is very softly holding two buds
of lotus in her left hand and in her right hand, she is holding her gold-studded bordered
transparent chunari, Her hair is black and curly and a thick lock of hair is dangiing down on
the [Link] background has been shown with different gleams of dark blue colour.
Painting of Chaugan Plavers-7his painting was painted by Dana of Jodhpur subschol
in 18® Century in medium of water colour on paper with Tempera technique and it's
collected in National Museum, New Delthi.
in this painting the six princesses have been shown playing Polo or Chaugan Al princes have
been shown riding on their [Link] horses of white, blue and deep grey coloured
with royal apparels of different colours. They, mounted on their horses moving into
different directions, are trying to take the red coloured bal into their own control with their
sticks

In the front part of the background, grass has been shown in pecular shape, with the
mixture of green, blue and yelow colours and in the upper part of the painting has been
done calligraphic work

Painting of Bharat Meets Rama at Chitrakuta- Ths painting was painted by Guman
of Jaipur sub-school in 18 Century in medium of water colour on paper wth Tempera
technique and it's collected lin National Museum, New Delhi.
In this painting. painter has painted an episode of the Ramayana through 49 very ordinary
human figures. Bharat and Satrughoa, with their wives, mothers and preceptors arrived
Chitrakut and trying to persuade Rama, Lakshman and Sita to come back to Ayodthya. Dark
skinned Rama, with halo, has been shown in ruddle-coloured clothes. All the mothers have
been painted in white clothes. Bharat and Shatrughna have worn similar light pink cloths.
The preceptors have been shown in white beard and wearing pink and ruddle coloured
clothes. Sita as well as the other wives have worn pink-coloured sarees. At once place,
having heard the sad news of the death of his father, Dasharath, Rama has been shown
fainted. in upper portion, Sita is discussing with her mothers-in-law and others
In the background of the painting, Dark green hut has been shown on which ablack
coloured special structure has been painted Behind that, many trees, fiowers and plants
were also depicted, Behind these trees a hill has been shown. This is one of the unique
paintings that were painted in patronage of the ruler of iaipur, Sawai lai Singh, In the middie
of 18 century.