Paintings of Rajasthan

 Paintings of Rajasthan

Paintings of Rajasthan

Paintings of Rajasthan are famous from pre-modern time. Indeed Buddhist, Mughal and Rajasthani are the three well known schools of paintings in India of the pre-modern time but there is no doubt in the fact that Though the graphic drawings of the primitive man and the artistic paintings of the prehistoric time as found in the rock caves in Alania Dara of Kota district and places known as Bairath and Dar of Bharatpur district unfold the early painting tradition of this state yet the term Rajasthani painting is used in a specific sense.

 

The Mughal school of painting greatly influenced the Rajasthani paintings and inspired its development. Intellectuals have diverse opinions regarding the nomenclature of Rajasthani paintings. Some painting experts prefer to call it Rajput Art.' On the basis of a few samples of Rajasthani paintings while some others call it by the name of Hindu Style. It was in the year 1916 that for the first time a scientific classification of Rajasthani paintings was attempted by late Anand kumar Swamy in his book named Rajput Paintings. According to him, the subject of Rajput painting is related to Rajputana.

 

An example of Painting of Rajasthan

Punjab and the hilly estate of Himachal Pradesh. On the basis of the aforesaid facts the Rajput paintings of Rajasthan were placed under the head Rajasthani painting while the paintings pertaining to hilly regions were placed under the head Hill Paintings. This Rajasthani style of painting developed in the regions of Kota, Bundi, Jaipur, Alwar, Kishangarh, Mewar, etc. As all these small states were under the rule of Rajput rulers, the paintings of these regions on this basis were named as Rajput painting by Kumar Swamy, O.C. Ganguli, Havel and Basilgrey. Ram Krishna Das however denounced the idea of naming the painting as Rajput painting simply on the basis of the ruling class and gave it the name of Rajasthani Art.

 

WALL PAINTING

Wall painting as a powerful medium of expressing motions has been of no less importance ever since the pre-historic period. This fact is testified by the inscription of human figure at a place named Dar in Bharatpur district. Although the said art received some set back with the invention of paper in 12th century but this medium came into vogue again with the cultural renaissance or resurrection of 15th century.

 

Rajasthan is a prosperous state from the view point of wall painting. In this context, all the major cities of Rajathan like Jaipur, Kota, Bundi, Kishangarh, Udaipur are worth-mentioning. However, Kota is relatively more prosperous in this respect. Inspite of being the smallest of all the cities it has been abundantly decorated by the connoisseur feudal chieftains this place. The tradition of wall painting can be witnessed till now the Jhalaji mansion and the temple of Rasik Behari ji.

 

The wall paintings of Bundi are highly laborious, prosperous and diverse from the point of view of sketching. The hypothetical manifestations of these paintings are based upon erotic topics of Krishna Leela and diverse differences of beauty. Several rooms of Bhattji's mansion, palace and temples are beautifully decorated by wall paintings. These paintings are characterized by shinning colours accomplished beauty through golden sketching and by dynamic precision of lining even to-day.

 

In order to keep the wall paintings alive for ever Rajasthan has a sketching systems called Aarayash. The paintings are first sketched by lining of ink and then colours are filled in these. These are especially in vague in Jaipur. The tradition of wall paintings had developed abundantly in Jaipur. The mansion of Pundreekji, Galta Ghat, palaces of Rawalji in Jaipur are famous for their wall paintings. The wall paintings of Kishangarh have been done on the lines of Aarayash style. The subjects of these wall paintings are diverse. The glimpse or tableau of the paired of twined formof Radha-Krishna is found everywhere.

 

The wall paintings of Jodhpur are limited to cavalcade and scenes related to tale of games. The wall paintings of the palaces of Bikaner have scenery of roaring clouds, flying birds, diverse embroidery work and sketches of golden lining.

 

Although the wall paintings of Udaipur are relatively large in number yet the beauty of these are not as good as that of the wall paintings of Jaipur style. The paintings Momal etc. of Jaisalmer style are exquisite examples of the traditional artistic symbols of Rajasthan. The techique of wall paintings blossomed more in Jaipur, Alwar, Kota and Bundi only. Whereas one end of this type of painting is the worship endowed with qualities or attributes of vallabh cult, the other has the tradition of the succesion or sequence of Mughal dynasties. Kota-Bundi are the centres of Ballabhian worship while Jaipur-Alwar are symbols of muslim tradition. In recent time, Rajasthan Lalit Kala Academy has taken adequate steps in the direction of developing this art.

 

➤ Characteristics of Rajasthani Painting

 

1. Antiquity: Rajasthani painting is traceable in early history and the proof of which is found in the pictures of sun, moon, animals, birds, human figures, bows, stupas, vajra, mountains, rivers etc. as engraved on coins.

 

2. Artistic: The Rajasthani painting gives artistic glimpse because the amalgamation of Ajanta style in this style. Later on, the Mughal style also got mixed in this style which gave it a new appearance.

 

3. Colourfulness: Goudy and showy colours especially red and yellow are being largely used in Rajasthani paintings which give a new form and beauty to these paintings.

 

4. Diversity of Subject-Matter: Rajasthani painting being ancient in nature incorporates within it admixture of different styles which flourished indifferent regions. Consequently, variety of pictures like that of Radha-Krishna Leela, Goverdhan Dharan (lifting of Goverdhan), Bal Gopal Stuti, Ragmala Malti, Rasik Priya, Kadambari, Madhav etc. enrich this style of painting.

 

5. Female Beauty: The beauty of Indian woman has been fully exploited in Rajasthani painting. Her lotus like eyes, waving hairs, bulging breasts, thin waist, rounded and long fingers etc. have been exquisitely displayed in Rajasthani painting.

 

6. Proximity to Folk Life: Rajasthani painting as developed in the tradition of wall painting is specially related to the folk life. The painting nurtured in religious and cultural locations and sites pertaining to court depict special closeness to the emotions and feelings of the folk life and popular subjects.

 

7. Abundance of Emotional Exposition: Rajsthani painting is soaked in sentiment. The major characteristic of this style of painting is the living exposition of devotion and adornment and melodiousness of Radha-Krishna.

 

8. Conformity to Place and Time: Living portrayal of Rajput civilization and culture and that of contemporary conditions is the special feature of Rajasthani painting. Forts, palaces, havelis, courts etc., depicting Rajput grandeur and glory have been precisely painted. The living portrayals of Bhakti periods are found only in Rajathani painting.

 

9. Conformity to Natural Surronding: Rajasthani painting encompasses multi-dimensional portrayal of the huge natural surrouding. Living portrayal of lakes full of lotus, gardens and forests, trees and plants, leaves and flowers, bower full of birds, deer, peacock, lion, elephant etc. is a characteristic feature of Rajasthani painting.

 

On the basis of the aforesaid description it may be concluded that Rajasthani painting is in itself outstanding and excellent.

 

Rajasthani painting has been preserved in the following museums:

 

1. Pothi Khana, Jaipur

2. Pustak Prakash, Jodhpur

3. Saraswati Bhandar, Udaipur

4. Jain Bhandar, Jaisalmer

5. Kota Museum

6. Alwar Museum

 

Beside, Rajasthani painting is painted on the walls of the palaces. The palaces of Jaipur, Kota, Bundi, Kishangarh, Udaipur, Jaisalmer etc. are famous from the point of view of wall painting.

 

Thankyou comment your queries below