Rajput paintings can be classified into two groups:Rajhasthani and

pahadi with many sub schools within them.

Rajhasthani paintings- they started flourishing between 16th and
early 19th [Link], the rajhasthani painting style
firstly started in Mewar and then spread to [Link] next phase
saw the paintings getting popularity in Jaipur,Jaisalmer and Jodhpur
with predominant influence of Mughal art.
There was a sudden rise of indegenous style of painting which
arose in the areas of Kishangarh in the second half of the 18th
century. The hunting scenes of Kotah marks the end of the classical
Rajhastani school of paintings.
Rajhasthani paintings owes its existence to two major factors-
1)The economic prosperity enjoyed by the trader community of
Rajhasthan
2)Growth of Vaisnavism
Being on the trade route connecting Mughal headquarters with
Ahmedabad and Surat,the traders received enormous wealth and
ideas which enabled them to patronage literature,music and arts.
The revival of Vaisnavism and growth of bhakti cult played a
decisive role in the cultural sector of medieval Rajhasthan. Amongst
the religious themes,the most important are the illustrations
fromRamayan and Mahabharat;works belonging to the Krishan cult-
Gita govinda,Bhagwata puranaa;works of surdas,keshavdas and
Bihari Lal.
The theme of Radha and Krishna is the most illustrated.
Folklore and rhythmic poetry- Dhola Maru, hammira-hatha, sohni-
mahiwal and panchtantra stories as well as sanskrit classics-
Kadambari by banabhatta episode of Nala and Damayanti were
also illustrated.
The influence of Mughal art can be seen in the illustration of court
scenes and royal [Link] practice of employing court artists
and running and maintaining a artist’s workshop,although a smaller
one,became a matter of pride between the heads of principalities in
Rajasthan in the late Mughal times.
The general style of Rajasthani paintings is characterised by
primitive vigour,bold outlines and brilliant colours set into
harmonious patterns. Regional ramifications in the treatment of
facial types,local landscape and scenery and the other technical
details distinguish different sub schools with the major one.

Technique-
Paintings were executed in the traditional tempera technique. After
mixing colours in water along with a binding medium they were
applied on the drawing. First, the sketch was freely drawn in red or
black over which a white priming was given. The surface was
thoroughly burnished till the outline showed clearly through it. Then
a second outline was drawn with a fine brush. First the background
was coloured and then the sky, buildings and trees, etc. Figures
were painted last of all after which a final outline was drawn.

Colours used in paintings were obtained from minerals and

ochres(clay and sand). Indigo was the vegetable colour. Lac-dye
and red carmine were obtained from insects. Burnt conch shell and
zinc white(safeda) were used as white colour. Lamp black and burnt
ivory (Kajal) were used as black colour. Red ochre (geru), red lead
(sindhura), lac-dye and red carmine were used as red colour, indigo
and ultramarine were used for blue. Yellow ochre, orpiment and
peori (extracted from urine of cows fed on mango-leaves) were
used for yellow. Silver and gold were also used. Terraverte,
malachite and verdigriz (Zangal) were used as green colour which
was also obtained by mixing other colours.
Gum arabic and neem gum were used as binding media in colours.
Brushes were made of animal's hair. Fine brushes were made from
squirrel's hair, the finest being of a single hair. Apart from palm leaf
and paper, wood and cloth were also often used as materials for
painting.
Mewar-
The development of this particular style could be tracked back from
16th century onwards showing clear cut progress as a product of
indegenous art before coming into contact with the influence of
Mughal Painting.
A chaurapanchasika series(50 stanzas of the thief) may be
regarded as the earliest phase of rajasthani painting. These
paintings are distinguished by bold colours,angular features of the
figures which stand out distinctly from the black background. The
heroine of the painting,champavati,is shown wearing odhani with a
veil,tight choli and skirt,her hair is plaited long and she is adorned
by profuse jewellery. The male wears a Kulah(conical cap),a long
pointed muslin coat,churidar pyjamas and pointed shoes. Even
though these paintings show their linkage with the central Indian
paintings but as far as the technical details and expressive gestures
of the composition is concerned they show definite improvement
over the central Indian style.

Slide (Rangmala) (Malshri ragini)-The earliest dated example of

Mewar painting showing its formative period is marked by the
Rangmala series started by Nasiruddin in 1605. Rangmala
series(necklace of musical modes) is a unique indegenous
invention providing definite pictorial form to the ragas by
personifying them. The six principal ragas are considered to be
male mode and each one of them wedded to five female
counterparts called raginis. As depicted in paintings,they represent
love in union as well as in separation.

This ragmala scene depicts an ideal woman waiting for her

lover;the bedchamber is prepared with two tasseled pillows and
container sets for pana nd other stimulants. She holds a lotus in full
bloom,savoring its fragrance. The mood is one of distress at her
lover’s absence,mingled with sweet memories and longing
[Link] before and beyond the compound wall suggest a
spatial dimension,as does the vista into the bedchamber’s interior.
Ragmala(ruler)- In this lively court scene the ruler, perhaps the
patron of this Ragamala, pauses while playing a vina to take pan,
a refreshing concoction of betel nut, spices, and lime wrapped in
betel leaf. He is accompanied by musicians playing a four-
stringed rabab and manjira (hand cymbals) and a third
entertainer, probably a vocalist. This pictorial expression of a
raga (melody) evokes a cultured nobleman enjoying sensory
[Link] documentation is provided regarding the patron, but
likely it was the ruler Rana Amar Singh or one from among his small
court in exile.
(Chawand Fort served as the last retreat for Rajputs still in defiance
of Mughal suzerainty. It collapsed to Mughal forces in 1609, and Amir
Singh finally submitted to Prince Khurram (the future Shah Jahan) in
1615 at Gogunda, an event recorded in the Jahangirnama and
illustrated by the imperial artist Nanha in 1618.)

Unlike the Caurapancasika and other early Rajput works, the

Ragamala has broken from the horizontal layout, which derives
from the pothi tradition, to assume a vertical format inspired by
the Islamic codex book. This series also introduces new pictorial
devices learned in the previous thirty years from artists who had
served in the imperial Mughal atelier. Large numbers of Indian
artists (chitaras), Hindu and Muslim alike, had been gathered to
Akbar’s workshop by ‘Abd al-Samad to complete the monumental
Hamzanama, and upon its completion around 1572, most were
released. They scattered to the courts of Rajasthan and Malwa
as well as the Muslim courts of the Deccan; some must have
secured employment at Udaipur, where Nasiruddin would have
learned his skills and developed his distinctive style. His
Chawand Ragamala is a uniquely dated and provenanced series,
representing a landmark in the development of Rajput painting. It
is distinguished by its vibrant palette and intense emotional
sensibility.
During the period of Jagat Singh I( 1628-1652) a kind of maturity
prevailed over the rajasthani painting which is characterised by the
use of bright colours,decoratively treated lush vegetation,scant
perspective to show simpler architectural [Link] paintings were
marked by typical facial type having oval faces,narrow
foreheads,prominent nose,fish like eyes and small [Link]
the horses and elephants were painted more naturalistically,in the
depiction of birds and other animals,western Indian style of
execution [Link] of the outstanding painters of the early
phase was the artist Sāhibdīn.
Sahibdin- Depicts Krishna and Radha in a [Link] is part of
Gita Govinda. Gita Govinda was written by Jayadev depicting the
relationship between krishna and gopis.
Manohar-Portrait of Emperor Jahangir with his sons Khusraw
and Parviz; single-page painting mounted on a detached album
folio (B side).
Jahangir is shown seated under a canopy giving private
audience to his two sons. The emperor is surrounded by five
figures comprising the two princes bearing fruit and wine, two
servants and a page holding a flywhisk. The figures appear with
their bodies in three-quarter view and heads in full profile. A
single tree and flat green landscape with a blue sky on the
horizon appear in the background. The image is entirely
coloured with detailed patterning on the canopy and carpet. A
dark blue border filled with a scrolling vegetal design frames the
image. The border itself is emphasised further with outlines in
black, white, blue and gold.
Amal-i Manuhar- Inscription translation: Work of Manohar

With the start of 18th century,the style distinct in Mewar started

degenerating to routine copying as can be seen in various paintings
concerning the vallabhacharya sect of Vaishnavism executed
around Nathdwara in Mewar. A large number of paintings produced
in the early 18th century show the absence of charming quality of
the earlier [Link] glory of Mewar lost its vigour.

Bundi-

In its early inception the paintings of Bundi and Kotah show

similarity to the extent that they are not distinguishable from each
[Link] was only in mid 17th century that exhibited a genuine style
of painting after it became separated from Kotah to form other state
of Rajasthan (1625).

Chunar Ragmala (feb 24,1591) (Deepak Raga)- following the

Mughal conquest of Bundi by Akbar in February 1569 and the
surrender of the Rajput ruler Rao Surjan Singh (r.1544–85),
the royal household of Bundi was pardoned, and Surjan
Singh distinguished himself henceforth as a loyal servant of
Akbar. He was rewarded in 1575–76 with the governorship of
Chunar and Kashi (near Varanasi, in Uttar Pradesh), which
“he beautified and ornamented,” building numerous facilities
“for public benefit,” including twenty public baths. He died at
Kashi, and his successor Bhoj Singh (r. 1585–1607) retained
their territories until 1591, when emperor Akbar rescinded his
governorship and ordered the family to return to their
ancestral lands in [Link] Singh rarely had been in
residence, campaigning with the imperial army, and Chunar
was left in the care of his son Ratan Singh. It was in all
likelihood he who commissioned the Chunar Ragamala
The Bundi style of paintings are characterised by picturesque
landscape of hills,thick jungle,flowing rivers,lotus ponds and lakes
charged with water [Link] paintings of high quality were
produced in the mid 17th century during the mature phase of Bundi
style. The human figure still showed the regular type usually having
a reddish brown [Link] wore Muslim type jamas over
churidar pyjamas,the mughal type turban occasionally with a
[Link] were shown with pinched waist,prominent
node,almond shaped eyes,wearinf odhani(veil),choli and ghaghara
in Indian fashion.A profusion of black tassels and pearls adorned
both men and [Link] usual setting of Bundi paintings is a
landscape oftenly showing domed pavilions and interiors with
[Link] and windows are marked by rolled up curtains
beneath chajja. Bundi paintings of mature phase depicts many
deccani elements such as formal gardens with floral beds and
fountains,architectural features and the figures of women showing
cylindrical forms. As Bundi rulers served the Mughal emperors as
governors in the deccan some of the deccani style might have
incorporated deliberately in these paintings. Towards the close of
17th century Bundi style underwent subsequent changes. In the
execution of paintings the faces became more refined having a
flesh-pink colour. Water was stylised into wavy white lines rippling
on a dark indigo [Link] landscape was marked by the use
of variety of colour and their shades such as orange,blue,white,gray
along with the golden clouds hanging in the sky. In the early 18th
century these developments gave rise to a soft style of delicate
charm combined with firm outlines showing sinous movements.
The artist of Bundi may be given special credit for portraying
elephants in characteristic manner. Unnerved by te huge mass of
these animals,the artists have depicted them with confidence
showing fluidity of form but at the same time firms in outlines.
Painting of summer elephant(1750,prince of wales museum)-
glows with hot colours-red,orange,yellow-effectively portraying the
scorching summer [Link] elephants - wallowing in the lotus
pool, dancing on the shore - are depicted under a blazing sky
before the monsoon.

The favourite themes of this period are marked by the depictions

relating to various Ragmala,Baramasa and Rasikprya. The gradual
decline can be noticed towards the end of 18th century when the
quality showed a marked decline though the paintings were being
prepared on a large scale.
Chitrashala-The only recognisable work of the period was the
mural decoration of the chitrashala of Bundi palace,dealing with the
krishna legend,hunting scenes and royal [Link] by Raja
Rao Umeed Singh

Amer-jaipur

Dhundhar is a historical region of Rajasthan state in

western India. It includes the districts of Jaipur, Sawai
Madhopur and [Link] the banner of Dhundar
Pradesh, we study the Amber, Jaipur, Alwar and
Shekhawati styles of paintings.

It is generally believed that a school of painting originated at Amber,

the old capital of the Amber State, in early 17th century. Later on in
the 18th century, the centre of artistic activity shifted to Jaipur, the
new capital. There is a fairly large number of portraits of the Jaipur
rulers and miniatures on other subjects which can definitely be
assigned to the Jaipur [Link] Jaipur was the first rajasthani
state to fall in line with the Mughal polity,in the field of painting also
it was highly influenced by the Mughal style.A flourishing school of
court painters was patronised at Jaipur which were producing
pictures depicting pomp and splendour apart from making royal
portraits. It was in the last 18th century,after the end of Mughal
influence when we observe true jaipur style emerging.
In the last years of Jai Singh I, the influence of the mughal style
of Shah Jahan’s period is all too evident. Under Jai Singh II
(1693-1743), Ishwari Singh (1743-1750) and Madho Singh I
(1750-1767), a new style was adopted for the female face. A
good deal of Rajput-Mughal painting, characterized by oval face,
is attributed to this period.
Under Pratap Singh (1779-1803), there was a complete
transformation of painting in Jaipur.
Sahib [Link]’s skin and clothing with luminous
washes of watercolor. shows a dancing girl dressed as
Krishna.
Sahib Singh (Nayika)-depict women, naked from the waist
up, fixing
their hair: one holds a thick swathe of loose hair in each
hand, the other combs her tresses. In each, the figure fills the
window frame, with arms bent at angles to create a dynamic
and graphically satisfying two-dimensional effect. Both
paintings reiterate the conventions discussed so far, includ-
ing the characteristic eye, the distinctively elegant and spare
use of line, the stylish arrangement of two-dimensional
forms on the picture plane, and the abundant depiction of
jewelry, which appears almost to lie on the surface of the
page, though it intermittently tucks itself around the women’s
contours.

Sahib Singh(Pratap Singh)-The female ideal so

beautifully conceived in these
works is reiterated in a large fragment that depicts
Maharaja Pratap Singh drinking with the women from
his zenana. The women are red-eyed with intoxication,
and the scene is almost drunk with its admixture of
lavender, orange, pink and green. There is little doubt
that the master of the Jaipur cartoons and the bathing
nayikas is the author of this work
is well.

Sahib Singh Potrait-A sense of two dimensional design that so

elegantly enamels the [Link] ribbons cascade in perfect rows
from the horse’s [Link] halo of the [Link] can see subtle
graduations of white that fade to reveal Pratap singh’s pajamas.
Next- Red against black,a strip of orange,a pink carpet and
pillow,gold and green accents are [Link] robe fans out below
to end in a series of curves,which evolve into loops and bounce
across the page,echoing the rhythms of the flowers on pratap’s
patka and the pearls around his neck.

Under the personal inspiration of ruler,Pratap Singh,many pictures

devoted to Krishna theme were executed and over 50 artists
worked under him. Among the paintings,the
ring dance-(1800,jaipur museum) shows krishna performing a folk
dance described in the prem sagar (ocean of love).The depiction of
moonlight sky,krishna standing with his favourite in the center of the
concentric rings of [Link] gopis in the inner circle wear red and
orange,those in the middle ring wear green while the gpis of the
outer ring have black cloths. The profusion of gold dots and borders
gives the painting a jewel-like quality.

Marwar School of Painting-

The magnificence of the Marwar School of Painting is
splendidly expressed in the Jodhpur style, the Bikaner style and
the Kishangarh style
Jodhpur-
During 15th and 16th centuries,Jodhpur paintings showed the
influence of Jain style of western India because the patrons
were generally jain merchants.A true jodhpur style developed
during the reign of Bijai Singh between 1760 and 1780 when
Rajasthani preference for rhythmic lines and jewel like colours
became [Link] mughal influence still continued in the
depiction of romantic figures of the women emerging against a
dark [Link] figures showing women normally
playing with birds or flying kites,present a picture of charming
[Link] beautiful long uplifted eyes are a notable
feature of the jodhpur style,eg. A lady showing the lady flying a
[Link] refined style of Jodhpur painting reached to its
culmination during the reign of Man Singh (1803-1843).In the
later half of his rule man singh devoted all his time to
patronising painting and literature. His own poem “Krishna
Vilas” as well as other stories from Siva
Purana,Nalacharita,Durgacharita and Panchatantra were
profusely illustrated.

Dhola Maru- A series of 121 paintings (1820) showed the

execution of Dhola Marvani [Link] series of
miniatures show Dhola and Marwani riding their favorite camel
Maru in highly decorative [Link] uplifted head and angular
legs of the animal give a sense of movement. The outline of the
riders merges with the main curves of the camel’s body at the
same time Marvani’s odhani and the camel’s tail depict a kind
of rhythm. Colours of the composition sparkle like enamel on a
natural blue background.

Bikaner Style-
Located in the northern Rajasthan, Bikaner was established by
a chieftain Rao Bikaji in the 15th century. The Bikaner style has
prominent Mughal elements and features more than any other
Rajasthani school of paintings, the reason being many Mughal
school artists visited Bikaner and were employed there. Some
of the famous names amongst these artists were Ali Raza,
Ruknuddin, Sahibdin, Isa, Mohammed Ibrahim and Lupha.

Many critics term the early Bikaner style as the provincial

Mughal style, but the paintings of slim attractive women with
deer-like eyes, application of vibrant colours like green, red and
blue, high end turbans of the Marwari fashion and depiction of
the Bikaneri style of living along with the Rajput culture makes
us believe that it has a distinct style.

Kishangarh Style-

In the most of the rajasthani states when art of classic painting

came to an end with the end of 18th century,there was a
sudden rise of a new school of paintings in the small state of
[Link] credit goes to its ruler Raja Sawant
Singh(1748-1757), a great devotee of Krishna,wrote many
poems under the pen name Nargari [Link] fell in love with a
maid called Bani Thani(smart and well dressed)
(Vishnupriya).She was also well versed in poetry and
accompanied the ruler many [Link] the death of Raja
Sawant Singh best Kishangarh paintings depicting a new and
beautiful type of Radha and Krishana were [Link] artist
Nihal Chand is credited with the execution of this distinctive
type showing Bani Thani as Radha and Sawant Singh as
[Link] henna designs on her palms, the painted
fingernails, the sheer odhani (a traditional covering garment)
and the opulent jewelry of gold and pearls, form the
quintessential image of feminine beauty of the Rajputana in the
18th century.
The iconic Bani Thani by Nihal Chand was based on a rough
sketch by the Crown Prince – a talented poet and artist himself
– before he handed it over to Nihal Chand to paint. This
painting became the very symbol of Kishangarh miniatures and
was even featured on a commemorative postage stamp issued
by the Indian Government in 1973.

use of subtle light colours like rose, white, red, emerald

and cream can be [Link] characteristics of the
Kishangarh paintings are the portraits of women with long
necks, slanted eyes and aquiline nose, men with attractive
physique, elevated turban, thin lips and wide eyes. The
paintings depicting palace, forts, bridges, lake and garden
with the Kishangarh town in the background can be
commonly seen as well.

Kotah-

Kotah Paintings represent the final stage of Rajasthani

[Link] in the hily tracts of Kotah,the painting style here is
marked by the excitement of chase during the [Link] ruler
of Kotah,Ummed Singh passed his time in hunting
[Link] Paintings of this period reflects the execution
of chase which became a social ritual similar to fox hunting of
18th century [Link] ladies took part in the royal forays
into the jungle and were expert [Link] contributions of
the Kotah artists to the world of painting is [Link] real
theme of their work is the jungle with its wild life,but the hunter’s
role was [Link] Rajasthani love of boldly simplified
forms as opposed to the Mughal love of detail stands out in the
treatment of Jungle,vegetation,hunters and [Link] the 19th
century,the bold clarity gave way to delicate refinement of
forms and delight in picturing flora and fauna as done during
Jahangir’s time. Rajasthani paintings drew to a close on this not
of keen interest in nature and the typically Indian feeling of
oneness with all creation.
Sheikh Teju (1780)-Here we see a kota ruler,possibly Umeed
Singh,barely visible,amid the trees,aiming the rifle at the tiger
being driven within range by a line of beaters [Link]
mighly beast appears to growl threateningly at this
[Link] of royal hunter and noble beast in deadly
combat was seen in Rajput court culture as an important
expression of kingly bravery and martial [Link] hunt
came to replace the battlefield as the arena for defining their
manhood and right to rule.
Ram Singh II(1844)-The last known ruler of Kotah was Ram
Singh [Link] titled Ram Singh II of Kotah and Companions
celebrating Holi by Kishan [Link] has a green colour imported
from Germany.

Pahadi schools

The Pahari region comprises the present State of Himachal Pradesh,

some adjoining areas of the Punjab, the area of Union Territory of
Jammu in the Jammu and Kashmir State and Garhwal in Uttar
Pradesh. The whole of this area was divided into small States ruled
by the Rajput princes and were often engaged in welfare. These
States were centres of great artistic activity from the latter half of
the 17th to nearly the middle of the 19th century.

Baoshli-

The earliest centre of painting in the Pahari region was Basohli

where under the patronage of Raja Kripal Pal, an artist named
Devidasa executed miniatures in the form of the Rasamanjari
illustrations in [Link] general features of the Basohli style like the
use of strong and contrasting colours, monochrome background,
large eyes, bold drawing, use of beetles wings for showing diamonds
in ornaments, narrow sky and the red border are observable in this
miniature also.
Rasimanjari (1694)- The Rasamanjari begins with an
invocation to Shiva. The believer is called upon to summon
the god, to cause him to appear before his inner eye. In this
case, Shiva is invoked in his androgynous form, in which half
his body is male and the other half female. In both scenes,
the artist placed Shiva’s consort Parvati close to the god as a
(second) left half, suggestive of the Ardhanishvara
representation when they are conceived as a single divine
entity. In this tender depiction, Shiva plucks flowers from a
tree and unites with her on a tiger-skin [Link] paintings
are dominated by the use of thick pigments, polished colors,
monochromatic backgrounds devoid of descriptive details,
and occasionally, they include applied lustrous green beetle
wings and dots of shell-lime body-white that stand in relief to
the picture surface.

Guler-

The last phase of the Basohli style was closely followed by the
Union Territory of Jammu group. of paintings mainly consisting
of portraits of Raja Balwant Singh of Jasrota (a small place
near Union Territory of Jammu) by Nainsukh, an artist who
originally belonged to Guler but had settled at Jasrota. He
worked both at Jasrota and at Guler. These paintings are in a
new naturalistic and delicate style marking a change from the
earlier traditions of the Basohli art. The colours used are soft
and [Link] style of these paintings is naturalistic, delicate
and lyrical. The female type in these paintings is particularly
delicate with well-modelled faces, small and slightly upturned
nose and the hair done minutely.

Manaku-He shows Krishna as cloud hued,lotus eyed and clad

in his favourite yellow [Link] a garland of flowers around
his neck and richly adorned with jewels,Krishna's body is
anointed with fragrant sandal [Link] struck Radha is
charming and sensous,radiating passion and tenderness as
she is drawn towards the dark skinned lord.
Manaku slide2-Krishna and god of love-Kama
Manaku slide3-Instead of Radha Krishna,depicted here is the
Matsya,the first avatar of [Link] the form of a fish,Vishnu
defeated a demon to rescue the sacred vedas,that had been
stolen from Brahma.

Baramasa-The lunar year consists of twelve months,known as

the [Link] the paintings connected with the theme of
seasons,painters have beautifully nature's friendliness and
[Link] months are Chaitra, Vaisakha, Jyestha, Asadha,
Bhadrpad, Asvina, Karttika, Margashirsha, Pausha, Magha and
Phalguna.

Magha (jan-feb)-Forests and gardens are echoing the sweet

notes of peacocks,pigeons and [Link] Keshavdasa says
that bees are humming around as if they have lost their
[Link] sound of musical instrument and music are heard
throughout the [Link] are celebrating “vasanta”

Chaitra(march-april)-The charming creepers have blossomed

and so have the young [Link] rivers and ponds are [Link]
ladies aglow with passion are worshipping their [Link]
Keshavdas says that in such a flowery season no one should
embrace thorns of seperation leaving the flowers of union.
Jyestha(may-june)-The sun is so bright and scorching that five
elements:air,water,earth,sky and fire have become one [Link]
as [Link] tree in the background can be seen as drying in this
hot [Link] maid is seen fanning the women giving solace
in this scorching heat.

Shravana(July-August)-Poet Keshavdas says that during the

month of Shravana,the rivers(being in spate due to rains) meet
sea making a pleasent [Link] creepers freshened by rains
have clung to trees..The lightning meets the cloud and shines
all [Link] peacocks make happy sounds,announcing the
meeting of earth and [Link],all the lovers are meeting their
beloved.

Hiranyaksha and Vishnu-The artist Manaku painted a series

of painting that showed the story of Vishnu's avatar Varah and
Hiranyaksha.

Kangra-
In these paintings, the faces of women in profile have the nose
almost in line with the forehead, the eyes are long and narrow
and the chin is sharp. There is, however, no modelling of
figures and hair is treated as a flat mass.

Devi-Defeated by the asuras,the gods turned to

Brahma,Vishnu and Shiva for [Link] they expressed their
anger over the actions of Mahisasura,who had taken over not
only the earth but also heaven,from their combined energies
emerged the martial form of [Link]'s Trident,Krishna's
discus,Agni's spear,Indra's thunderbolt,Vayu's bow and arrows
were onlly a few of the weapons that Chandalika used against
Mahisasura's [Link] taller than all other
figures,each of devi's eighteen arms is spread out as she
unleashes her fury upon the [Link] mount,the Lion,also
attacks the deamons and destroys [Link] face remains
serene as she effortlessly continues towards the large army.
Chandalika can be seen with same dark hair and milky
[Link] is a fierce manifestation of Shakti-replacing pretty
dresses with armour and in lieu of jewellery the three eyes
goddess wears a snake around her neck.

Kulu-Mandi

Along with the naturalistic Kangra style in the Pahari region,

there also flourished a folk style of painting in the Kulu-Mandi
area, mainly inspired by the local tradition. The style is marked
by bold drawing and the use of dark and dull colours. Though
influence of the Kangra style is observed in certain cases yet
the style maintains its distinct folkish character.
Rasikpriya of Keshavdas is a monumental work of poetry that is
a celebration of [Link] it's composition in the late 16th
century,the lyric has inspired artists in ateliers all over the
[Link] significant are the works that illustrate the
different nayaks and nayikas.
Abhisarika Nayika-She is a heroine who sets aside her
modesty and moves out of her home to secretly meet her
[Link] is depicted at the door of her house on her way to the
tryst,defying all difficulties like the storm,snakes and dangers of
the forest.

Khandita Nayika-Khandita is an enraged heroine,whose lover

had promised to spend the night with her,but instead came to
her house the next morning after spending the night with
another [Link] is depicted offended,rebuking her lover for
his infidelity.

Utka Nayika-The expecting heroine,Utka Nayika,as she awaits

her beloved impatiently at the trysting place standing on a bed
of leaves,beneath a [Link] anxiety increases at her lover's
inability to keep his appointment with her at the promised hour.

Svadinapatika Nayika-Svadhinapatika is a women who is

loved by her husband and controls [Link] is subjugated by her
intense love and pleasing [Link] lover tends her feet in
the way of massage or washing or painting with lac dye.

Virhinia Nayika-Paintings on lonely ladies gazing at clouds

and birds and fanning themselves are usually of women parted
from their [Link] feeling of anxiety in a women separated
from her husband is depicted [Link] wipes her tears as the
love-lorn Virahini awaits the return of her husband during the
rainy months of sawan.