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Notes class : 12 ( FINE ART )
Origin and Development of Miniature Painting in India
1. Evolution of Art in India – An Introduction
● Progress of a country is judged by political, economic, natural, human, scientific,
educational, and cultural development.
● Art is one of the main aspects of cultural development.
● In India, earliest cultural advancement is seen in Indus Valley Civilization (planned cities,
drainage, metal casting, architecture, etc.).
● Art gradually developed during Mauryan, Shunga, Kushana, Gupta, and Sultanate periods.
● A new style of painting started in the Pala Dynasty (Bengal) and Jain Manuscripts
(Gujarat) called Miniature Painting.
● Later spread in different regions with styles like Mughal, Rajasthani, Pahari, Deccan,
Middle India.
● Miniature = small size, detailed paintings.
● Mediums: cloth, palm leaves, later paper.
desh ki progress sirf paisa ya politics se nahi hoti, balki art aur culture se bhi hoti hai. India mein
sabse pehle Indus Valley mein art ka development hua tha. Dheere-dheere Mauryan, Gupta,
Sultanate ke time pe aur progress hui. Fir Bengal ke Pala dynasty aur Gujarat ke Jain
manuscripton se ek naya style start hua – Miniature Painting. Ye chhoti size ke paintings hote
the but bahut detail mein banaye jaate the.
2. Miniature Painting
● Introduced in India in the 10th century A.D.
● Pragyaparmita (Buddhist manuscript, 999 A.D.) is the first known miniature painting (on
palm leaves).
● Jain Kalpasutra paintings also made on palm leaves and cloth.
● From 14th century, palm leaves were replaced by paper → revolution in painting.
● Demand increased for portraits of gods, goddesses, and rulers.
● Painting became a profitable business; artists started creating secular themes also.
● Patronage shifted from businessmen to rulers and feudal chiefs.
Miniature painting India mein 10th century se start hua. Sabse pehla example hai Pragyaparmita
manuscript. Pehle palm leaves pe painting hoti thi, later 14th century mein paper use hua jo
jyada durable tha. Fir demand badh gayi aur log deities ke portraits banwane lage. Dheere-
dheere rulers bhi support karne lage aur artists ne religious ke saath secular themes bhi paint
karna shuru kar diya.
3. Portrait Paintings
● Akbar promoted portraits of aristocrats and courtiers.
● Initially, women’s portraits were not allowed (except dancers).
● Jahangir encouraged portraits of women → Queen Noorjahan’s portrait is famous.
● Family albums of rulers also came into existence.
Akbar ne sabse pehle portraits ka trend start kiya. Us time women portraits allowed nahi the, sirf
dancers ke banaye jaate the. Lekin Jahangir ne isko promote kiya aur Noorjahan ka portrait
banwaya. Uske baad rulers ke family albums bhi banaye jaane lage.
4. Different Styles or Schools of Miniature Paintings
Miniature painting developed into various regional schools:
a) Pala School of Painting
● Flourished between 8th–11th centuries in Bengal and Bihar.
● Based on stories of Lord Buddha’s life.
● Patronized by Pala dynasty kings.
Pala school mainly Bengal-Bihar area mein tha. Isme Buddha ke life ke incidents paint kiye jaate
the.
b) Jain School of Painting
● Found in painted pages of Kalpasutra.
● Pictures of Tirthankaras like Mahavira, Parshvanath, Neminath.
● Made on palm leaves and cloth.
● Characteristics: use of gold, dark colors, angular faces, big eyes, sharp noses, dwarfish
figures, rich costumes.
Jain style mein Kalpasutra manuscripts mile hain jisme Tirthankars ke portraits bane hain. In
paintings mein gold aur dark colors jyada use hote the. Figures chhoti aur angular hoti thi, eyes
badi aur sharp nose hoti thi.
c) Mughal School
● Developed under Akbar, Jahangir, Shah Jahan, Aurangzeb.
● Characteristics: realistic portraits, detailed costumes, court scenes, hunting scenes.
Mughal style mainly royal patronage mein develop hua. Isme realism dikhta hai – jaise court ke
scenes, hunting aur ruler ke portraits.
d) Rajasthani School
● Themes: Ramayana, Mahabharata, Krishna Leela.
● Use of bright colors, bold lines, decorative borders.
Rajasthan school mein mainly mythological kahaniyan paint hoti thi jaise Krishna Leela. Colors
bahut bright aur lines bold hoti thi.
e) Pahari School
● Originated in Himalayan region (Himachal Pradesh).
● Themes: love stories of Radha-Krishna, nature, romantic scenes.
Pahari school hilly area ka style tha. Paintings romantic aur nature-based hoti thi, Radha-Krishna
ki love stories main theme hota tha.
f) Deccan School
● Originated in Deccan sultanates.
● Characteristics: bright colors, Persian influence, court scenes, Islamic elements.
Deccan style mein Persian aur Islamic effect tha. Colors bright aur themes court life se related
hote the.
5. Modern/Contemporary Art
● During British rule, Indian art was discouraged.
● Later, Bengal School tried to revive Indian tradition in modern way.
● Today, artists use different mediums and techniques to express social, cultural, and
personal themes.
British rule ke time Indian art ko deliberately suppress kiya gaya. Lekin Bengal School ke artists
ne fir se Indian identity ko art ke through dikhaya. Aaj kal ke artists modern techniques use karte
hain aur apni paintings mein social aur cultural issues bhi uthate hain.
The Rajasthani School of Miniature Painting
The Rajasthani School of Miniature Painting
1. Origin and Development
● Started in the 15th century in Mewar (Udaipur) with influence of Jain Kalpasutra style.
● Combined local folk art with traditions of Ajanta and Gujarat.
● Palam Bhagwat (1555 A.D.) is the best example of pure Rajasthani style.
● Spread to other centres of Rajasthan later.
Rajasthani miniature painting 15th century mein Mewar (Udaipur) se start hua. Ye Jain Kalpasutra
ke style aur Rajasthan ke lok kala ke mix se bana. Sabse famous example hai Palam Bhagwat
(1555). Dheere-dheere ye style Rajasthan ke dusre regions tak fail gaya.
2. Characteristics
● Sentimental faces, sharp features.
● Imposing human figures with different emotions.
● Strong outlines.
● Warm, primary colours (red, yellow, orange) giving richness.
Is style ki paintings mein chehre emotional lagte hain, nakhsh sharp hote hain. Figures bade aur
strong dikhte hain. Lines bold hoti hain aur red-yellow jaise warm colours use hote hain jo
paintings ko rich banate hain.
3. Themes
● Narrative (story-based): Ragamala, Nayak-Nayika Bhed, Baramasa, Ramayana, Krishna
Leela, Rasikapriya, Bihari-Satsai, Dhola-Maru, Laila-Majnu, Vishnu Dasavatara,
Rasamanjari, Bhagavata Purana, Prithviraj-Raso.
● Secular/independent: court scenes, hunting, processions, festivals, parties, harem life,
durbars.
Rajasthani paintings mein do tarah ke themes the – ek toh religious & narrative jaise Ramayana,
Krishna Leela, aur dusre secular jaise court scenes, hunting, royal parties, festivals.
4. Sub-Schools of Rajasthani Miniature Painting
a) Mewar (Udaipur) Sub-School
● Began in 15th century.
● Developed form: Palam Bhagwat.
● Famous painters: Sahibdin, Manohar.
● Themes: Bhakti-based texts, Ragas, stories.
Mewar style sabse purana hai. Isme Sahibdin aur Manohar ne Bhakti aur Raga par paintings
banayi.
b) Bundi Sub-School
● First painting: Ragmala series (Chunar).
● Mix of Mughal + Deccan art.
● Speciality: Portraits.
Bundi style Mughal aur Deccan ka fusion tha. Ye portraits banane mein mashhoor tha.
c) Jodhpur Sub-School
● Originated in 17th century.
● Known for Pali Ragmala paintings.
● Pure indigenous style.
Jodhpur style Mewar se influence hua tha. Iska apna desi touch tha aur Ragmala series famous
hai.
d) Bikaner Sub-School
● Strong Mughal influence (as Mughal court painters came here).
● Still painted Hindu mythological themes.
● Famous painters: Ali Raza, Sahibdin, Ruknuddin, Nuruddin, Murad.
Bikaner style Mughal art ke effect se bana. Lekin isme Hindu mythological stories bhi banayi gayi.
e) Kishangarh Sub-School
● Famous for idealized women beauty.
● Most iconic: Bani-Thani (Radha) by Nihal Chand.
● Patron: Raja Sawant Singh.
● Painters: Bhawani Das, Surat Ram, Nihal Chand.
Kishangarh style Radha ke beauty portraits ke liye mashhoor hai. Sabse famous hai Bani-Thani
painting.
f) Jaipur Sub-School
● Patronized by Sawai Jai Singh.
● Focus on abstract themes, hunting scenes.
● Centres: Amer, Jalor, Jaisalmer, Pushkar.
● Famous painters: Mohammad Shah, Sahib Ram.
Jaipur style king Sawai Jai Singh ke under grow hua. Hunting aur abstract scenes yaha famous
the.
g) Kota Sub-School
● Similar to Bundi style.
● Speciality: Baramasa paintings (depicting moods of 12 months).
Kota style Bundi ke jaisa tha, lekin isme Baramasa paintings (12 mahine ki emotions wali
kavitaon par) famous hui.
5. Famous Miniature Paintings (Case Studies)
1. Raja Aniruddha Singh Hara (Bundi Sub-School)
● Painter: Utkal Ram.
● Medium: Watercolour on paper, tempera.
● Early 18th century.
● Depicts Rajput king on a white horse, wearing Mughal-style turban, holding reins and a
flower.
● Rich colours: red, orange, yellow-brown.
Is painting mein Rajput king ko ghode par dikhaya gaya hai, Mughal style turban pehne hue.
Colors bright aur royal feel dete hain.
2. Maru-Ragini (Mewar Sub-School)
● Painter: Sahibdin.
● 18th century, Ragmala series.
● King and queen riding a decorated camel in desert.
● Escorts, attendants, animals shown.
● Background: green-yellow desert landscape.
Maru-Ragini ek desert scene hai jisme king aur queen camel par ride kar rahe hain. Attendants
aur escorts ke saath pura royal procession dikhaya gaya hai.
3. Krishna on Swing (Bikaner Sub-School)
● Painter: Nuruddin, 1683 A.D.
● Krishna and Radha shown in two panels (upper and lower).
● Krishna in yellow/orange dhoti, Radha in ghaghra-choli.
● Transparent chunari, detailed ornaments.
● Background with trees, mound, architecture.
Isme Krishna ko jhule par aur Radha ko balcony mein dikhaya gaya hai. Niche panel mein dono
alag baithhe hain. Details, ornaments aur background nature bahut beautiful hai.
4. Radha (Bani-Thani) – Kishangarh Sub-School
● Painter: Nihal Chand, 1760 A.D.
● Radha with mysterious smile, long sharp nose, arched eyebrows, thin red lips.
● Transparent chunari, lotus buds in hand.
● Government of India issued a postal stamp of this painting.
Sabse famous painting Rajasthani school ki – Bani-Thani. Isme Radha ko khoobsurat aur graceful
way mein dikhaya gaya hai, isiliye ise Indian Mona Lisa bhi bola jata hai.
5. Chaugan Players (Jodhpur Sub-School)
● Painter: Dana, 18th century.
● Six princesses playing polo (Chaugan) on decorated horses.
● Bright dresses, jewellery, motion shown.
● Background: green-yellow grass fields.
Chaugan Players ek sports scene hai jisme princesses polo khel rahi hain. Horses, dresses aur
jewellery bahut royal dikhte hain.
6. Bharat Meets Rama at Chitrakuta (Jaipur Sub-School)
● Painter: Guman, 18th century.
● Episode from Ramayana where Bharat tries to persuade Rama to return to Ayodhya.
● Many figures shown: Bharat, Shatrughna, mothers, preceptors, Sita, Rama.
● Rich use of pink, white, green colours.
● Background: trees, flowers, hut, water with lotuses.
Is painting mein Ramayana ka ek important scene hai – Bharat Rama ko wapas Ayodhya le jaane
ke liye mana rahe hain. Figures bahut detail mein dikhaye gaye hain, nature aur surroundings bhi
colourful hain.
The Pahari School of Miniature Painting
1. Origin and Development
● Originated around 1690 A.D. in Basohli (on the banks of river Ravi).
● Later spread to Guler, Chamba, Mandi, Kangra, Garhwal, Kullu.
● Sub-centres: Jammu, Srinagar, Nurpur, Mankot, Nalagarh (Hindoor), Punjab plains.
● Special features: Himalayan influence, round faces, half-moon foreheads, normal deep
eyes, natural body figures.
Pahari School ka janm 1690 ke aas-paas Basohli (Ravi nadi ke kinare) se hua. Baad mein ye
Kangra, Chamba aur Guler jaise pahadi shehron mein phail gaya. Is style mein chehre gol, maatha
adha-chand jaisa, aur aankhen gehri hoti thi.
2. Sub-Schools of Pahari Painting
a) Basohli Sub-School
● Developed when Mughal Emperor Aurangzeb banned art. Court painters moved to hills.
● Merged Mughal techniques with local traditions.
● Themes: Ras-Manjari, Ramayana, Geet Govinda, Ragamala.
● Style: Square-shaped, double-storeyed buildings, hills, rivers, waterfalls, lotus and
flowers.
Basohli style tab bana jab Mughal court mein painting ban ho gayi thi. Artists pahad mein chale
gaye aur waha Mughal technique ko mix karke naye paintings banaye. Ye paintings jyada tar
square shape ki hoti thi aur background mein pahad, nadi, phool dikhaye jate the.
b) Guler Sub-School
● Famous for individual portraits and subject-based paintings.
● Speciality: Beauty and emotions of women.
● Features: Soft colours, fine outlines, emotional expressions, fawns, clouds, nature.
Guler style apni women portraits aur emotions ke liye mashhoor tha. Colors soft hote the aur
background mein clouds, nature use hota tha.
c) Kangra Sub-School
● Considered the glory of Pahari paintings.
● Reached peak under King Sansar Chand.
● Human portraits very natural and beautiful.
● Themes: Radha-Krishna love, Rasik Priya, folk love stories (Heer-Ranjha, Sohni-Mahiwal).
● Colours: Red, yellow, blue – calm and decorative.
● Speciality: Balanced trees, natural scenery, fine margins.
Kangra style sabse famous hai aur Sansar Chand ke samay apne peak par tha. Radha-Krishna aur
Heer-Ranjha jaise love stories ke paintings bahut mashhoor hain. Isme natural scenery aur
balanced trees dikhte hain.
d) Chamba Sub-School
● Known for delicate, charming female figures.
● Prominent use of red and blue colours.
Chamba style ki paintings mein women figures bahut hi delicate aur beautiful hoti thi. Red aur
blue colors jyada use hote the.
e) Garhwal Sub-School
● Similar to Guler style.
● Features: Charm of colours, clarity of expression, tenderness of beauty.
● Nalagarh (Hindoor) art: symbolic and systematic designs.
Garhwal style Guler se milta-julta tha. Isme rangon ki chamak, clear expressions aur beauty dikhti
thi. Nalagarh style apne symbolic aur systematic designs ke liye famous tha.
f) Mandi Sub-School
● Very different from other sub-schools.
● Speciality: Tantric forms of goddesses.
● Used dark black, red and blue to create mystery and fear.
Mandi style alag tha – isme jyada tar devi ke tantric forms banaye jate the. Dark red, black aur
blue colors se paintings ko mysterious banaya jata tha.
3. Study of Selected Paintings
1. Krishna with Gopis (Basohli Sub-School)
● Painter: Manaku (1730 A.D.)
● Medium: Watercolour on paper, tempera.
● Collection: National Museum, New Delhi.
● Depiction: Krishna dancing with gopis on Yamuna bank.
○ Krishna: blue skin, pearl necklace, yellow dhoti.
○ Gopis: colourful transparent clothes, big eyes, curved eyebrows, long noses.
○ Radha shown with folded hands, attendant holding umbrella.
○ Background: multi-coloured leaves, light scarlet ground.
Is painting mein Krishna Yamuna ke kinare gopiyon ke saath dance kar rahe hain. Radha unke
saamne haath jod kar khadi hai. Gopiyon ke chehre ek jaise hain – badi aankhen, lambhi naak aur
curved eyebrows. Background mein rang-birange ped aur flowers hain.
2. Nand, Yashoda and Krishna with Kinsmen going to Vrindavana (Kangra Sub-School)
● Painter: Nainsukh (1785–90 A.D.)
● Medium: Watercolour on paper, tempera.
● Collection: National Museum, New Delhi.
● Depiction: People of Gokul, with Nand, Yashoda and Krishna going to Vrindavan.
○ Krishna: blue-skinned, golden crown, ornaments, flower garland.
○ Balram: with blue costume, raising hand towards Vrindavan.
○ Other figures: multi-coloured clothes, swimming in Yamuna.
○ Background: clouds, greenery, golden buildings of Vrindavan peeping through
clouds.
Is painting mein Gokul ke log, Nand-Yashoda aur Krishna Vrindavan ja rahe hain. Krishna blue
rang mein crown aur phoolon ki mala pehne hue hain. Balram unke saath hai. Background mein
greenery aur golden buildings clouds ke peeche se dikh rahe hain.
Mughal School of Miniature Painting
1. Origin and Development
● Mughal paintings were considered art of aristocracy in medieval India.
● Different from Sultanate/Islamic Art of Deccan (which had Persian, Turkish, Iranian
influence and lacked Indian feeling).
● Mughal art looked Indian in theme and style, though included Islamic elements.
● Artists combined Islamic themes with Indian subject matter.
Mughal painting ek royal art tha jo raja-maharaja ki shaan dikhata tha. Ye Deccan ke Islamic art
se alag tha kyunki usme Persian style jyada tha. Mughal art ne Indian aur Islamic dono elements
ko mila kar ek naya Indian look diya.
2. Phases of Mughal Art
a) Akbar’s Period (1556–1605)
● Akbar: Father of Mughal Art.
● Established Tavirkhana (painting workshop) and a paper mill in Sialkot.
● Encouraged both Hindu and Islamic themes in art.
● Artists: Mir Sayyad Ali & Abdus Samad (Iranian masters), but most painters were Indian.
● Literature: Got Indian texts translated into Persian & Persian texts into Hindustani.
● Themes: Illustrated Ramayana, Mahabharata, Harivansh Purana, Hamzanama,
Baburnama, Shahnama, Tutinama.
● Characteristics:
○ Excellent colour combination
○ Clear outlines & fine detailing
○ Crowded but balanced figures
○ Round faces, vibrant expressions
Akbar ko Mughal painting ka pita kaha jata hai. Usne ek painting workshop banayi jisme Indian
aur Iranian painters kaam karte the. Is samay Ramayana, Mahabharata jaise granthon ki paintings
banayi gayi. Paintings mein rangon ka sundar mel, gol chehre aur fine detailing milti hai.
b) Jahangir’s Period (1605–1627)
● Jahangir: lover of beauty, nature, and poetry.
● Paintings show naturalism & delicate beauty.
● World-famous bird and animal paintings made.
● Influence of European art: light & shadow, 3D effect.
Jahangir ko prakriti aur sundarta bahut pasand thi. Uske samay birds, animals ki paintings duniya
bhar mein mashhoor hui. Europe se influence aaya – jaise light-shadow aur 3D effects.
c) Shahjahan’s Period (1628–1658)
● Preferred architecture (like Taj Mahal) over painting.
● Themes: few love stories (Laila-Majnu, Bajbahadur-Roopmati).
● Characteristics:
○ Court scenes, festivals, pageants
○ Nature as soft background
○ Decorative, romantic elements
○ No violence/hunting scenes (unlike Akbar)
Shahjahan ko paintings se zyada buildings pasand thi. Paintings mein mostly court scenes,
festivals aur romantic subjects bante the. Khoon-kharaba ya hunting jaise scenes bilkul nahi
dikhaye gaye.
d) Decline under Aurangzeb (1658–1707)
● Aurangzeb: orthodox Muslim, banned arts.
● Artists migrated to provinces and independent states.
● Developed Provincial Mughal Style (blend of Mughal + local styles).
● Major centre: Awadh; in Datia, pure Mughal style continued.
Aurangzeb ne painting ko support nahi kiya. Is wajah se artists alag-alag states mein chale gaye
aur Mughal + local styles ko mila kar naya “Provincial Mughal Style” ban gaya. Awadh iska main
centre tha.
3. Study of Selected Paintings
1. Kabir and Raidas (1640 A.D., Shahjahan period)
● Painter: Ustad Faquirullah Khan, on Dara Shikoh’s request.
● Medium: Watercolour on paper, Tempera.
● Depiction: Saint Kabir weaving cloth; Raidas sitting, both in discussion.
● Rural hut background, realistic atmosphere.
● Limited colours: brown, black, white.
● Thick borders on all sides.
Is painting mein Kabir aur Raidas ko dikhaya gaya hai – Kabir kapda bun rahe hain aur dono saints
baat kar rahe hain. Background gaon jaisa lagta hai. Rang simple hain – brown, black, white.
2. Krishna Lifting Mount Govardhana (1585–90 A.D., Akbar period)
● Painter: Miskin, part of Harivansh Purana manuscript.
● Krishna: blue skin, yellow clothes, peacock feather crown, garlands.
● Krishna lifting Govardhan on one hand; villagers with cattle under it.
● Hill shown in Persian style with colourful detailing.
● Dense blue clouds above.
Yahaan Krishna ek haath se Govardhan parvat utha kar Gokul ke logon aur unke pashuon ko
bachate dikhaye gaye hain. Krishna peacock feather crown pehne hue hain. Pahad Persian style
mein rang-biranga dikhaya gaya hai.
3. Birth of Salim (1590 A.D., Akbar period)
● Painter: Ramdas.
● Theme: Birth celebration of Prince Salim (Jahangir).
● Scene divided in compartments:
○ Upper: birth scene.
○ Middle: musicians, dancers.
○ Lower: crowd celebrating.
● Features: European influence in scenery and dresses; bird’s eye view in upper part.
● Strong colour contrasts.
Is painting mein Jahangir ke janm ki celebration dikhayi gayi hai. Upar ke part mein birth scene
hai, beech mein musicians aur neeche crowd. Rangon ka contrast strong hai aur scenery mein
European influence dikhayi deta hai.
4. Falcon on a Bird-Rest (1618–19 A.D., Jahangir period)
● Painter: Ustad Mansoor.
● Jahangir’s pet falcon gifted by Shah Abbas of Iran.
● White falcon with brown-black wings, yellow background.
● Realistic features: sharp beak, cruel eyes, feathers detailed.
● Inscription in Devanagari script.
● Borders with golden figures.
Jahangir ka favourite falcon is painting mein dikhaya gaya hai. Uska sharp beak aur cruel eyes
bahut realistic lagte hain. Background yellow hai aur borders golden designs ke saath banaye
gaye hain.
5. Marriage Procession of Dara Shikoh (1740–50 A.D., Provincial Mughal)
● Painter: Haji Madni.
● Big, multi-coloured painting of royal marriage.
● Right side: bride’s family waiting.
● Left side: groom’s procession on horses & elephants.
● Dara Shikoh: on decorated horse, pearl veil.
● Shahjahan: behind him, with green halo.
● Fireworks in background, dancing boy in front.
● Borders: red & blue on golden base.
Is painting mein Dara Shikoh ki shaadi ka baraat dikhaya gaya hai. Elephants aur horses par log
baith kar aaye hain. Dara Shikoh pearl veil pehne hue ghode par hain, peeche Shahjahan bhi dikh
rahe hain. Background mein fireworks hai. Borders golden aur colourful hain.
The Deccan School of Miniature Painting
Origin and Development
● Deccani art flourished between 16th to 19th century A.D. in Bijapur, Ahmednagar,
Golconda, and Hyderabad.
● Deccan region had its own identity in art, culture, drama, language, costumes, and
religion.
● Style was a blend of Indian traditions with Islamic art from Iran, Persia, and Turkey.
Deccan ka art alag tha kyunki usme India ke local elements aur Persian-Islamic style ka mix tha.
Isliye ye ek fusion art form bana jo Deccan ki pehchaan hai.
Phases of Deccani Art
1. Early Phase (16th Century – Bijapur / Adil Shahi Court)
● Started under Yusuf Adil Shah (1489-90 A.D.).
● Artists from Iran, Persia, Turkey came to his court.
● Paintings were limited to text illumination (Quran copies, Islamic texts).
● Colours: Blue, red, pink in strong tones.
● Designs: Geometric, symmetrical patterns.
Shuruaat mein bas Quran aur Islamic books decorate hoti thi. Zyada Islamic style tha, Indian
effect kam tha.
2. Middle Phase (17th Century – Local Influence)
● Rulers and artists became more rooted in India.
● Themes included Indian subjects and mysticism.
● Even erotic themes were allowed.
● Artists were mostly local or descendants of earlier immigrants.
Is phase mein art Indian culture se mix ho gaya – subjects Indian bane aur local artists ne kaam
kiya.
3. Later Phase (18th Century – Hyderabad)
● After Aurangzeb’s death (1707 A.D.), Mughal decline started.
● Many Mughal artists migrated to Hyderabad.
● New Deccan art blended Golconda romantic style + Mughal refinement.
Mughal artists Hyderabad aa gaye, aur Mughal + Deccan ka fusion bana. Ye phase sabse refined
aur mature art ka tha.
Specialities of Deccani Style
● Persian delicacy + Deccan sensuality + European 3D effects.
● Figures: Tall, fair, expressive males; sensuous females.
● Features: Large eyes, bold features, broad foreheads, high necks, slanting waists.
● Strong emotions, moods, and dramatic intensity.
Figures bade attractive hote the – badi aankhen, slim kamar, expressive faces. Art mein hamesha
drama aur emotions bhare hote the.
Study of Miniature Paintings
1. Ragini Pathamsika (Ahmednagar, 1590–95 A.D.)
● Painter: Unknown
● Depicts Ragini Pathamsika (Raga Hindol).
● Shown sitting in a pavilion, playing a musical instrument.
● Wearing blue & transparent white clothes.
● Two attendants dancing beside her.
● Foreground: Toy elephant, golden water pot.
● Background: Colourful domes & geometric designs.
Yahaan ek lady (Ragini Pathamsika) apne instrument bajati dikhayi gayi hai, side mein do
attendants dance kar rahi hain. Painting mein red, blue, gold ke bright colours use hue hain.
2. Chand Bibi Playing Polo (Golconda, 1750 A.D.)
● Painter: Unknown
● Chand Bibi and 3 women shown playing polo on horses.
● Each rider wears different coloured royal dress.
● Foreground: Water body with birds and flowers.
● Middle ground: Undulating field where horses run.
● Background: Huge fort, ramparts, buildings, greenery.
● Borders decorated with Persian calligraphy.
Is painting mein Chand Bibi apni female companions ke saath polo khelti dikhti hain. Horses
colorful hain, peeche bada fort aur nature scene hai.
3. Hazrat Nizamuddin Auliya and Amir Khusro (Hyderabad, 1750–70 A.D.)
● Painter: Unknown
● Shows Sufi saint Nizamuddin Auliya (in green clothes, white beard, halo behind head).
● In front of him sits Amir Khusro, playing a musical instrument.
● Courtyard: red-yellow patterns, bordered lattice, flowering beds.
● Sky: Clear blue with flowering plants and a big tree.
● Represents romantic and devotional bond between saint and disciple.
Ye painting sufi saint Nizamuddin aur unke shishya Amir Khusro ko dikhati hai. Khusro music
bajate hain aur Nizamuddin dhyaan mein hain. Background mein nature aur courtyard ka detailed
scene hai.
Bengal School of Painting –
1. Introduction
● The Bengal School of Painting emerged in the early 20th century as a reaction against
British colonial influence on Indian art.
● European artists and critics spread the belief that Indian art lacked quality.
● Many Indians also began admiring and copying Western culture and art styles, even
depicting Indian gods in European clothing.
● This period saw the decline of respect for traditional Indian art.
● In such conditions, Raja Ravi Varma and Abanindranath Tagore revived Indian art and
gave it new dignity, initiating a Renaissance.
British rule ke time Indian art ko inferior dikhaya gaya. Log Western style follow karne lage. Par
Raja Ravi Varma aur Abanindranath Tagore ne Indian art ko dobara respect aur nayi identity di.
2. Origin and Development
● Bengal School arose as a nationalistic movement against the lifeless Western realism
promoted by the British Art Academy.
● Indian artists rediscovered the richness of Ajanta, Bagh, Mughal and Rajput paintings.
● Leaders of this movement: Raja Ravi Varma, Abanindranath Tagore, Gaganendranath
Tagore, Rabindranath Tagore, Nandalal Bose, Jamini Roy.
● Support of E.B. Havell, Principal of Government Art School, Kolkata, was crucial. He
replaced European works with Indian paintings in the art school.
● Abanindranath Tagore’s Bharat Mata became a symbol of national pride.
● He combined European watercolour, Japanese wash technique, and Indian themes.
● The Bengal School laid the foundation of modern Indian painting.
Ye ek nationalist art movement tha jo Western copy karne ke against tha. Artists ne Ajanta,
Mughal aur Rajput art se inspiration li. Abanindranath Tagore ki painting Bharat Mata ne
deshbhakti jagayi.
3. Specialities of Bengal School
● Influence of Ajanta (line quality, tenderness).
● Influence of Mughal & Rajput art (rhythm, elegance).
● Use of tempera and wash technique (dreamlike effect).
● Subjects included religion, history, folk life, landscapes, portraits, animals, birds.
● It gave rise to modern Indian art.
Is style ki khasiyat soft lines, dreamlike colours aur Indian themes thi. Ajanta aur Mughal-Rajput
ka asar clearly dikhta tha.
4. Important Artists & Works
(i) Journey’s End – Abanindranath Tagore (1937)
● Medium: Watercolour (tempera + wash).
● Shows a tired camel, overburdened, with half-closed eyes, symbolising suffering and
exploitation.
● Yet, camel remains faithful and tries to rise again.
● Background: sunset colours of desert.
● Symbol of endurance and struggle.
Is painting mein thaka hua camel exploitation ka symbol hai. Lekin fir bhi wo khada hone ki
koshish karta hai – ye struggle aur faithfulness dikhata hai.
(ii) Shiva and Sati – Nandalal Bose (1947)
● Medium: Sepia on paper.
● Depicts mythological moment of Sati’s death.
● Shiva shown grieving, holding Sati’s unconscious body.
● Aura around Shiva’s head, dramatic and emotional expression.
● Colours: brown, yellow, violet tones.
● Nandalal was a key disciple of Abanindranath, also famous for Dandi March linocut.
Ye mythological painting hai jisme Shiva apni wife Sati ke death pe grief dikhata hai. Emotions aur
expressions bahut powerful hain.
(iii) Rasa-Lila – Kshitindranath Majumdar (1926)
● Medium: Watercolour, tempera + wash.
● Depicts Krishna dancing with 12 gopis in joy.
● Multi-coloured costumes, ornaments, flowers.
● Background: lush greenery.
● Expresses devotion, rhythm, and joy.
Krishna aur gopiyan ka dance (Rasa-Lila) dikhaya hai – colourful, musical aur devotional feel ke
saath.
(iv) Radhika – M.A.R. Chughtai (1940)
● Medium: Watercolour, tempera + wash.
● Radhika shown with love and tenderness, holding a lotus.
● Transparent clothes, delicate jewellery, lamp glow in background.
● Style blends Indian romanticism with Japanese wash technique.
● Themes: Hindu mythology + poetry (Ghalib, Iqbal, Umar Khaiyyam).
Radhika ko love aur shringaar ke emotions ke saath dikhaya hai. Lotus Krishna ki presence ka
symbol hai.
(v) Meghdoot – Ram Gopal Vijayvargiya (1940)
● From Meghdoot series.
● Shows Yaksha and Yakshini flying on clouds, in embrace.
● Colours: blue sky, yellow, pink, white clouds.
● Very rhythmic and romantic.
● Vijayvargiya also wrote poems and stories; awarded Padma Shree.
Is painting mein Yaksha-Yakshini ka prem clouds par fly karte huye dikhaya hai – romantic aur
colourful effect ke saath.
Contribution of Indian Artists in the Struggle for National Freedom
1. Background
● The first united effort for freedom was Revolt of 1857, but it failed due to British
repression.
● After that, British propaganda declared Indian knowledge, culture, and art as inferior.
● Some educated Indians got influenced, but many intellectuals resisted and felt proud of
ancient Indian civilization and art.
● By the late 19th century, cultural, social, and political organisations began to rise in
Calcutta (Kolkata) – the hub of knowledge and movements.
1857 ka revolt fail ho gaya. British ne propaganda chalaya ki Indian culture bekaar hai aur apna
culture best hai. Kuch log unke influence mein aaye, par bahut saare Indian scholars aur artists
ne oppose kiya aur apni parampara pe garv kiya.
2. Rise of Indian National Congress (1885)
● A.O. Hume, a retired British officer, with Indian leaders, founded the Indian National
Congress.
● First session in Bombay (Mumbai), Dec 1885 under W.C. Banerjee.
● Slowly, INC became the political platform to protest against British tyranny.
Indian National Congress 1885 mein bani thi jisme Indian leaders ne apni awaaz uthai. Ye ek
political platform bana jo freedom struggle ka base ban gaya.
3. Role of Literature & Art
● Writers, poets, and artists spread nationalist feelings through their works.
● Bankim Chandra Chatterjee’s novel Anand Math gave the national song Vande Mataram,
which became a patriotic anthem.
● Artists expressed nationalism through paintings, songs, and magazines.
Writers aur poets ne novels aur geeton ke through deshbhakti jagayi. Anand Math aur Vande
Mataram ne sabko inspire kiya.
4. Indian Society of Oriental Art (1907)
● Founded in Bengal by art lovers and painters.
● Published Modern Review and Pravasi magazines.
● Sent artists to England and Japan to learn modern printing.
● With Sister Nivedita’s support, Ajanta, Ellora, and Bagh cave murals were copied and
published in Europe.
● This made Europeans recognise the greatness of Indian art.
1907 mein Bengal ke artists ne Oriental Art Society banayi jo printing aur magazines ke through
Indian art ko promote karti thi. Europe tak Ajanta aur Ellora ki paintings famous ho gayi.
5. Nationalist Paintings & Artists
(i) Abanindranath Tagore
● Created Bharat Mata – symbol of nationalism.
● His paintings like Bharat Mata and Opri Hawake Siddh Log spread patriotic spirit.
● Bharat Mata was shown as a divine woman with lotus, paddy, white saree, crown-like
Himalayas.
Abanindranath Tagore ki Bharat Mata ek symbol ban gayi. Is painting ne deshbhakti ko energy di.
(ii) Shripurna Ghosh
● Made another version of Bharat Mata based on Dwijendralal Roy’s song.
● Showed Bharat Mata as a beautiful woman rising from the ocean, holding paddy,
Himalayas as crown, pearls as necklace.
Shripurna Ghosh ne bhi Bharat Mata ko depict kiya – is painting mein Bharat Mata ko samundar
se uthatay dikhaya gaya.
(iii) Amrita Sher-Gil
● Painted Bharat Mata differently: an old woman with a baby and a poor girl, showing
poverty and suffering.
● Highlighted real India – sorrow and struggle of common people.
Amrita Sher-Gil ne Bharat Mata ko ek gareeb aur dukhi maa ke roop mein dikhaya, jisme asli India
ka dard nazar aata hai.
(iv) Gaganendranath Tagore
● Famous for his cartoons.
● His cartoon Punjab Men Shanti Ghoshit (after Jallianwala Bagh massacre, 1919) mocked
British policies and increased hatred against them.
Gaganendranath Tagore ke cartoons ne Jallianwala Bagh ke baad British ki insult ki aur logon
mein gussa badhaya.
(v) Nandalal Bose
● Student of Abanindranath Tagore.
● Famous works: Sati, Agni Devata, Death of Sati.
● Revived Indian traditional painting.
● 1938 Haripura Congress Session: painted panels showing Indian folk life (farmers,
villagers, daily life).
● His linocut of Dandi March also became iconic.
Nandalal Bose ne folk life aur desh ki asli image ko apni paintings mein dikhaya. Haripura session
ke panels ne sabko inspire kiya.
6. Example Work: Tiller of the Soil (1938)
● Artist: Nandalal Bose.
● Medium: Watercolour (tempera + wash).
● Shown: Indian farmer ploughing field with bullocks.
● Colours: black, white, brown, yellow, blue.
● Painted for decoration of Haripura Congress Session pavilion (1938).
● Symbolised dignity of Indian farmer – backbone of the nation.
Ye painting ek Indian kisaan ko dikhati hai jo hal se kheti kar raha hai. Ye farmer ki mehnat aur
India ki backbone ko symbolise karti hai.
Evolution of the Indian National Flag
1. Final Approved National Flag (1947)
● Name: The Tricolour (Tiranga)
● Ratio: 3:2 (length : width)
● Colours:
○ Saffron (top): courage and sacrifice
○ White (middle): truth and peace
○ Green (bottom): prosperity and happiness
● Symbol: Ashoka Chakra (navy blue, 24 spokes) in the center of the white band, taken
from the Sarnath Pillar.
● Approved: 22 July 1947 by the Constitution Committee.
● First Hoisting: 15 August 1947 at Red Fort, Delhi.
Tiranga 1947 mein final approve hua. Iska ratio 3:2 hota hai. Upar saffron colour hai jo courage
aur sacrifice dikhata hai, beech mein white hai jo truth aur peace ka symbol hai, neeche green hai
jo prosperity aur growth ka symbol hai. Beech mein Ashoka Chakra hai – blue colour ka wheel,
jisme 24 spokes hain jo 24 ghante ka symbol hai.
2. First Flag (1906) – Calcutta (now Kolkata)
● Date: 7 August 1906, hoisted at Parsis Bagan Square, Calcutta.
● Design:
○ Three stripes: Green (top), Yellow (middle), Red (bottom).
○ Green stripe: 8 white lotuses.
○ Yellow stripe: “Vande Mataram” written in Devanagari.
○ Red stripe: Sun (left) and Crescent with Star (right).
Sabse pehla National Flag 1906 mein Calcutta mein hoisted hua. Isme teen colours the – green,
yellow aur red. Green mein 8 white lotuses the, yellow mein “Vande Mataram” likha tha, aur red
mein ek taraf suraj aur doosri taraf chand sitara bana tha. Ye pehla step tha flag banane ki taraf.
3. Second Flag (1921) – Pingali Venkayya’s Flag
● Creator: Pingali Venkayya, Andhra Pradesh.
● First shown at Congress Session in Vijayawada (1921), given to Mahatma Gandhi.
● Original design: Two stripes – Red (Hindus) + Green (Muslims), with spinning wheel
(charkha) in the middle.
● Gandhi’s suggestion: Add White stripe (for other communities) + Blue Charkha (progress
& self-reliance).
● Widely used by Congress though not officially approved.
Dusra flag 1921 mein Pingali Venkayya ne design kiya aur Gandhi ji ko diya. Isme pehle sirf red
aur green the (Hindu-Muslim unity ke liye), beech mein charkha bana tha jo self-reliance ka
symbol tha. Gandhi ji ne bola ek white stripe bhi add karo jo baaki communities ka symbol ho. Ye
flag Congress ke sessions mein use hota tha.
4. Final National Flag (1947)
● Inspired by 1921 design, but Charkha replaced with Ashoka Chakra.
● Adopted officially on 22 July 1947 by the Constitution Committee.
● First hoisted on 15 August 1947 (Independence Day).
● Became the symbol of unity, pride, and freedom.
Final Tiranga 1921 ke design se inspired tha, bas charkha hata ke Ashoka Chakra laga diya gaya.
22 July 1947 ko officially adopt kiya gaya aur 15 August 1947 ko Red Fort par pehli baar hoisted
hua. Ye hamari unity aur independence ka symbol ban gaya.
Modern Trends in Indian Art
1. Introduction
● Modern Indian art included disciplines like Drawing, Painting, Photography, Sculpture.
● These were influenced more by Western/European styles rather than ancient Indian
traditions.
Modern Indian art mein drawing, painting, sculpture aur photography shamil hue. Ye zyada
Western style se influenced the, na ki purane Indian traditions se.
2. Role of Raja Ravi Varma & Abanindranath Tagore
● Late 19th century: New revolution in painting.
● Raja Ravi Varma blended Indian subjects with European realism.
● Abanindranath Tagore started the Bengal School of Art (identity of modern Indian art).
19th century ke end mein Raja Ravi Varma aur Abanindranath Tagore ne naya revolution laaya.
Ravi Varma ne Indian stories ko European style mein dikhaya, aur Abanindranath ne Bengal
School start kiya.
3. Shift from Bengal School
● Within 30 years, Bengal School was seen as conservative and outdated.
● Artists wanted to give their paintings world-class qualities.
30 saal ke andar hi logon ko Bengal School purana aur conservative lagne laga. Isliye artists
ne apne kaam ko world-level banane ki koshish ki.
4. Individual Contributions
● Gaganendranath Tagore – Used cubism-like style, inspired by urban Kolkata.
● Rabindranath Tagore – Focused on expressionism, kept naturality and emotions.
● Jamini Roy & Nandalal Bose – Highlighted rural themes and folk art in modern style.
● Gaganendranath → Cubism jaisa style, Kolkata ke sheher ki chamak-dhamak se inspired.
● Rabindranath → Natural aur emotional expression (expressionism).
● Jamini Roy & Nandalal → Gaon aur rural life ko apne style mein dikhaya.
5. Search for Modernity
● Artists debated on what is modern art:
○ Some → Secularism = Modern.
○ Some → Foreign training = Modern.
○ Some → Revived traditions with small changes.
Us time log confuse the ki "modern" ka matlab kya hai. Koi secular art ko modern bolta tha,
koi foreign training leke modern dikhana chahta tha, aur kuch log traditions ko thoda badal ke
modern banate the.
6. Progressive Artists’ Group (1947)
● Formed by F.N. Souza, M.F. Hussain, K.G. Subramanyam, etc.
● Rejected Bengal School, embraced International Modern Art.
● Styles included Cubism, Surrealism, Primitivism.
● Group ended in 1956.
1947 mein Souza, Hussain, Subramanyam ne Progressive Artists’ Group banaya. Unhone
Bengal School ko reject karke international modern styles (cubism, surrealism, primitivism)
apnaye. 1956 mein group band ho gaya.
7. Notable Artists After Independence
● Important names: Manishi Dey, Mukul Dey, Ramkumar, Tyeb Mehta, Akbar Padamsee,
Prokash Karmakar, Narayan Ramchandran, Bijon Chaudhary.
● They gave new foundation to modern Indian art.
Azadi ke baad naye artists aaye jo alag styles mein kaam karke Indian modern art ko ek nayi
pehchaan di – jisme Tyeb Mehta aur Akbar Padamsee jaise bade naam shamil hain.
Paintings of Contemporary (Modern) Indian Artists
1. Rama Vanquishing the Pride of the Ocean – Raja Ravi Varma
● Medium: Oil on Canvas
● Period: Modern, Late 19th century
● Collection: Chitrashala, Mysore, Karnataka
● Theme: From Ramayana – Rama angry at the ocean god for not giving way to Lanka.
● Features:
○ Rama shown with bow & arrow, angry mood.
○ Waves like white milk, ocean god shown pleading.
○ Use of European light & shadow technique.
● Artist Info:
○ (1848–1906) from Travancore royal family.
○ Trained by Dutch painter Theodore Jensen.
○ Blended Indian epic themes with European realism.
○ Famous for feminine figures (Sita, Shakuntala) and calendar art style.
Ravi Varma ne Ramayana ka ek scene banaya jisme Ram samundar dev ko gussa karke teer
chalane wale hote hain. Waves, light-shadow effect European style se kiya gaya hai. Ravi Varma
ne Indian kahaniyon ko European style mein dikhaya aur unki paintings calendar art ke liye
famous hui.
2. Mother and Child – Jamini Roy
● Medium: Tempera (water colours on paper)
● Period: Modern, 1930 A.D.
● Collection: National Gallery of Modern Art, New Delhi
● Theme: Infinite love between mother and child.
● Features:
○ Rhythmic curved lines, bold outlines.
○ Limited palette: black, yellow, brown, vermilion, white.
○ Inspired by Kalighat style.
○ Ornamentation shown through simple white & black lines.
● Artist Info:
○ (1887–1942) from West Bengal.
○ Inspired by rural life and folk art.
○ International exhibitions in London (1946) & New York (1953).
Jamini Roy ne maa-bete ke pyar ko simple lines aur bright colours se dikhaya. Kalighat style
ka asar hai – simple forms, bold outlines aur limited colours. Unhone gaon aur folk culture ko
modern art mein uthaya.
3. Haldi Grinder – Amrita Sher-Gil
● Medium: Oil on Canvas
● Period: Modern, 1940 A.D.
● Collection: National Gallery of Modern Art, New Delhi
● Theme: Hard life of Indian women in rural settings.
● Features:
○ Three women grinding haldi in bright saris (yellow, white, red).
○ Background muted, women in bright pigments stand out.
○ Strong dignity and power in ordinary rural women.
● Artist Info:
○ (1913–1941), Indo-Hungarian origin.
○ Studied at École des Beaux-Arts, Paris.
○ Known as a precursor of modern Indian art.
○ Feminist approach, focus on womanhood.
○ Govt. of India declared her works as National Treasure.
Amrita Sher-Gil ne gaon ki auraton ki mushkil zindagi ko dikhaya. Rang birangi saariyon mein
haldi peesati auratein main focus hain. Background dull hai taaki women strong aur dignified
lagein. Amrita ne women ko modern art mein central place diya.
4. Mother Teresa – M.F. Hussain
● Medium: Oil & Acrylic on Canvas
● Period: Modern, 1979 A.D.
● Collection: National Gallery of Modern Art, New Delhi
● Theme: Love, hope, pity expressed through Mother Teresa.
● Features:
○ White saree with blue border extended as symbolic form.
○ Orphan child, sick man shown under her shelter.
○ Divided into three phases of care and affection.
● Artist Info:
○ (1915–2011), born in Pandharpur, M.P.
○ Left J.J. School of Arts, worked as cinema poster painter.
○ Co-founder of Progressive Artists’ Group.
○ Known for bright, bold colours, Ramayana/Mahabharata series.
○ Honoured with Padma Shri, Padma Bhushan, Padma Vibhushan.
Hussain ne Mother Teresa ki paintings mein pyar, daya aur hope dikhayi. Unhone Mother
Teresa ke saree ko symbol banaya – ek taraf bacche ko protect kar rahi hain, doosri taraf bimaar
ko. Hussain apne bold colours aur unique style ke liye world-famous hue.
5. The Vulture – Kamlesh Dutt Pandey
● Medium: Oil on Canvas
● Period: Modern, 1980 A.D.
● Collection: Artist’s personal collection
● Theme: Social evil of dowry.
● Features:
○ Vulture represents cruel dowry system.
○ Shows women as victims in male-dominated society.
○ Calls for social reform and women’s equality.
● Artist Info:
○ Born in Delhi, M.A. in Drawing & Painting (1968).
○ UGC Research on “Women in Indian Painting”.
○ Known for bold, satirical expression against social issues.
Kamlesh Pandey ne giddh ke zariye dowry system ki burai ko dikhaya. Giddh jese aurat ka
flesh cheerna chahte hain – waise hi samaj auraton ko dowry ke liye torture karta hai. Painting ek
message hai ki auraton ko freedom aur equality milni chahiye.
Graphic Prints of Contemporary (Modern) Indian Artists
1. Graphic Art (Introduction)
● Ancient time → block printing used for seals/coins (not fine art).
● Graphic Art → new form, uses engraved/etched lines on surfaces (wood, metal, paper,
etc.).
● Purpose → to make multiple copies of same artwork.
● Process → artist makes design (matrix) → transfers impression mechanically → prints on
paper/surface.
● Materials → copper/zinc plates (etching), stone/aluminium (lithography), wood blocks
(woodcut), linoleum (linocut), silk/synthetic screens (screen printing).
Pehle zamane mein seal aur coins banane ke liye block printing hoti thi, par woh fine art nahi thi.
Modern graphic art ek nayi technique hai jisme design ko kisi hard surface par engrave karke
multiple copies nikali jaati hain. Jaise ek master design banta hai (matrix), aur usse prints bante
hain paper ya surface par.
2. Whirlpool (Krishna Reddy)
● Medium: Paper
● Technique: Intaglio (engraving hard surface)
● Year: 1962
● Collection: NGMA, New Delhi
● Description: Shows water moving fast in a whirlpool, dragging even heavy things down.
Artist used thin curved green, blue, yellow lines to show movement.
● Artist: Krishna Reddy (1925, Andhra Pradesh). Expert in Etching & Intaglio. Works include
Pastorale, Waterlilies, Wave, Reflection. Awarded Padma Bhushan.
Whirlpool matlab paani ka gol-gol chakkar. Krishna Reddy ne intaglio technique se paani ke
ghoomne ki speed aur depth ko dikhaya. Lines green, blue, yellow use ki gayi hain jisse painting
mein motion feel hota hai.
3. Children (Somnath Hore)
● Medium: Copper plate
● Technique: Etching & Aquatint
● Year: 1955–70
● Collection: NGMA, New Delhi
● Description: Shows malnourished children with weak bodies and ribs visible. Mother tries
to comfort them. Expresses poverty, starvation, suffering.
● Artist: Somnath Hore (1921–2006, Bangladesh origin). Focused on famine, war, human
suffering. Expert in woodcut, linocut, intaglio. Works: Birth of a Rose, Dream, Standing
Girl in Grief, Refugee, The Children.
Is painting mein Somnath Hore ne garib bacchon ki bhookh aur dukh dikhaya. Bacche kamzor
hain, maa unhe sambhalne ki koshish kar rahi hai. Yeh famine aur poverty ka sach batata hai.
4. Devi (Jyotindra Manshankar Bhatt / Jyoti Bhatt)
● Medium: Brass surface
● Technique: Etching
● Year: 1965–70
● Collection: NGMA, New Delhi
● Description: Represents Awakening of Kundalini (spiritual power in spine). Shows balance
of male & female powers. Kundalini awakens through yoga/devotion and leads to Goddess
Durga’s energy.
● Artist: Jyotindra Bhatt (1934, Gujarat). Inspired by Picasso & Ben Nicholson. Expert in
intaglio prints & photography.
Is graphic print mein Kundalini (spiritual energy jo spine mein hoti hai) ko dikhaya gaya hai. Yoga
aur devotion se yeh power jaagti hai aur insaan supernatural shakti feel karta hai, jaise Durga
Maa ki shakti.
5. Of Walls (Anupam Sud)
● Medium: Paper
● Technique: Lithograph + photographic image
● Year: 1982
● Collection: NGMA, New Delhi
● Description: A widow in white clothes sits near her dead husband’s body (only legs
shown). Behind her on wall, old happy memories drawn. Her face expressionless → society
treats her as dead too.
● Artist: Anupam Sud (1944, Punjab). Expert in Intaglio (etching, aquatint, mezzotint,
lithograph). Works: Adam & Eve, Purush & Prakriti, Autumn. Awarded in 1975.
Yahaan ek widow dikhayi gayi hai jo apne pati ki death ke baad society ke liye “dead” samjhi ja
rahi hai. Uske peeche diwaar par unke purane khushi ke pal dikhaye gaye hain. Artist ne widow ke
dukh aur samajh ki soch ko dikhaya.
6. Man, Woman and Tree (K. Laxma Goud)
● Medium: Paper
● Technique: Etching & Aquatint
● Year: 1980–90
● Collection: NGMA, New Delhi
● Description: A decorated woman and a young man sitting under trees, looking at each
other with attraction. Surroundings full of plants/flowers. Tree branches intertwine →
symbol of their emotions.
● Artist: K. Laxma Goud (1940, Andhra Pradesh). Studied at Baroda & Hyderabad. Works
show relationship of humans, animals, plants, culture.
Is print mein ek woman aur young man ek tree ke neeche baith kar ek dusre ko dekh rahe hain,
jisme natural attraction dikhaya gaya hai. Jaise trees ki branches ek dusre mein guth gayi ho,
waise hi unki feelings hain, par woh society ke respect mein control karte hain.
Sculptures of Contemporary (Modern) Indian Artists
1. Triumph of Labour – Devi Prasad Roy Chowdhury
● Medium: Bronze & Cement
● Year: 1954
● Location: NGMA, New Delhi (original at Chennai beach)
● Description:
○ Four labourers shown pushing a huge rock with wooden staffs.
○ Muscles and anatomy shown in detail → symbol of hard work & unity.
○ Only loin cloth (lungi) & head cloth shown.
○ Represents victory of labour – dignity in physical work.
● Artist: Devi Prasad Roy Chowdhury (1899–1975). Trained under Abanindranath Tagore.
●
Famous works: Lapcha Girl, Green and Gold, Nirvana, Bridge, Durga Puja Procession.
Awarded Padma Bhushan.
Is sculpture mein 4 mazdoor ek bade patthar ko dhakka de rahe hain. Artist ne unke muscles aur
mehnat ko highlight kiya. Message ye hai ki mehnat se hi jeet hoti hai.
2. Chaturmukhi (Four Mouths) – Aekka Yadagiri Rao
● Medium: Stone (13 feet high sandy stone)
● Period: Contemporary (Modern)
● Description:
○ Statue has 4 sides, each showing a stage/aspect of woman’s life.
○ 1st face: Birth to adolescence.
○ 2nd face: Virgin/young stage.
○ 3rd face: Relation with man.
○ 4th face: Feminine aspects (maturity & completeness).
● Artist: Aekka Yadagiri Rao (b. 1938, Hyderabad). Famous for Chaturmukhi.
Ye ek 13 feet uncha stone sculpture hai jisme 4 taraf aurat ki zindagi ke 4 stages dikhaye gaye
hain – bachpan, jawani, relation aur poornata.
3. Santhal Family – Ramkinkar Baij
● Medium: Cement & Concrete
● Year: 1938
● Location: Shantiniketan, West Bengal
● Description:
○ Sculpture of a tribal (Santhal) family.
○ Man carries goods + his baby in balance pole (bahangi).
○ Wife carries goods on head.
○ A dog follows them.
○ Made with simple material (cement, concrete, soil) → natural & everyday life.
● Artist: Ramkinkar Baij (1910–1980, West Bengal). Known as pioneer of modern Indian
sculpture. Famous works: Santhal Family, Sujata, Reaper, Girl & Dog, Returning from
Market.
Isme ek tribal parivar dikhaya hai – aadmi apne kandhe par saman aur baccha le ja raha hai, patni
ke sir par saman hai, aur ek kutta bhi saath hai. Yeh aam logon ki zindagi ko dikhata hai.
4. Cries Unheard – Amarnath Sehgal
● Medium: Bronze
● Year: 1958
● Location: NGMA, New Delhi
● Description:
○ Shows a poor family (father, mother, child).
○ Thin figures, hollow cheeks, deformed faces.
○ Hands raised to the sky → prayer/cry for help against exploitation & poverty.
○ Expresses suffering, hopelessness, corruption in society.
● Artist: Amarnath Sehgal (1922–2007, Pakistan-born, later in India). Also a poet &
philosopher. Famous works: Anguished Cries, Abyss of Life.
Is bronze statue mein ek garib parivar ko dikhaya hai jo bhookh aur zulm se pareshaan hai. Unke
haath upar uthaye hain jaise bhagwan se madad maang rahe ho. Yeh samajh ki sachchai dikhata
hai.
5. Ganesha – P.V. Janakiram
● Medium: Oxidised copper, tin (zinc), wires
● Year: 1970–80
● Location: NGMA, New Delhi
● Description:
○ Six-armed dancing Ganesha.
○ Two hands play Veena.
○ Other hands hold conch, wheel, mace, lotus.
○ Decorated with copper wires → gives modern + folk look.
○ Reflects South Indian folk traditions in modern form.
● Artist: P.V. Janakiram (1930, Chennai). Known for spiritual, mystic idols. Famous works:
Krishna, Garuda, Ganesha, Christ, Madonna & Child, Flute Player.
Is sculpture mein 6 haath wale dance karte hue Ganesha dikhaye gaye hain. Do haath Veena baja
rahe hain, aur baaki haathon mein shankh, chakra, gada, kamal hai. Copper wires se banaya
gaya, jo ise modern aur folk dono feel deta hai.