The Rajasthani School of

Miniature Painting

(a) Origin and development

At the beginning of the fifteenth century, the delineation of miniature paintings in the
Jain (Kalpasutra) style was started in Mewar (Udaipur) Rajasthan Area. In these
paintings, we find the collaboration of specific elements of local folk arts and the great
art traditions of Ajanta and Gujarat

The most developed form of this art style can be seen in the paintings of
"Palam Bhagwat" of 1555 A.D, which the basic Art Style of Rajasthan has been in pure
form. Gradually, the style of miniature painting has been followed by other centres of
Rajasthan. Specialities of miniature paintings painted in this region can be seen as the

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following:-

Sentimental faces, Sharp features, imposing figures presenting different human

(b) Sub-Schools of Rajasthani School of Painting

1.Mewar Sub-School of Miniature paintings

At the beginning of the 15th century, miniature paintings were painted in Mewar area
(Rajasthan). It's most developed form can be seen in the paintings of "Palam Bhagwat".

2.Bundi Sub-School of Miniature paintings

The first miniature paintings of this type were painted in Chunar in the form of Ragmala
series of Paintings. The art skills of this style are unique due to the collaboration of
Mughal and Deccan artists.

3.Jodhpur Sub-School of Miniature paintings

Jodhpur got art tradition in heritage from Mewar. At the beginning of 17th Century, it
was known for "Pali Rajmala" series of paintings.

4.Bikaner Sub- School of Miniature paintings

In this sub-school, there is shown some elements of the Mughal art because the painters
of the Mughal court came to Bikaner. They implemented customs of Mughal art in the
local art. As a result, the new style of painting came into existence and known as Bikaner
Style of Painting.

5.Kishangarh Sub-School of Miniature paintings

The mysterious beauty of a woman is the life of Kishangarh style of painting. The

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immortal paintings like Bani-Thani (Radha ) and the painting of King Sawai Jai Singh. In
this school, more paintings have been made on abstract subjects.

6. Jaipur Sub-School of miniature paintings

In Jaipur, this style of miniature painting got patronage in the reign of King Sawai Jai
Singh. In this school, more paintings have been made on abstract subjects.

Features of Rajasthani Miniature paintings

Sentimental faces:- There is a face of full emotions and feelings.

Sharp features:- The face is elongated, oval and profile manner, the forehead is in
downwards, long and pointed nose and pointed chin.

Imposing figures:- In this style of painting, the figures such as especially the women
figures are looking imposing and classical manners.

Potential underlying:-In this school the artist used potential lines or bold lines with the
rhythm in their paintings.

Colour Scheme:-The main colour used is the primary colours and other colours that
used are golden and silver.

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Varieties of themes:-There is a great variety in themes of Rajasthani paintings. Themes
are based on sessions, music, hunting scenes, religious themes etc.

Depiction of nature:- Nature has also been depicted very beautifully, different types of
trees, mountains, water etc. has been depicted in a very attractive manner.

Study of Paintings (In Short )

Painter:-Utkal Ram
Period:- Circa Early 18th Century
1.Raja Anirudh Singh Hara Medium:-Water colour onPaper
Sub-School: Bundi
Technique:-Tempera

Painter:- Sahibdin
Technique:- Tempera
2.Maru Ragini Period:-Circa 18th Century
Sub-School:- Mewar
Medium:- Watercolour on Paper

Painter:-Nuruddin
Technique:- Tempera
3.Krishna on Swing Period:- 1683A.D.
Sub-School:- Bikaner.
Medium:- Watercolour on Paper

Painter:- Nihal Chand

Painter:- Dana
Technique:- Tempera
5.Chaugan Players Period:- Circa 18th Century
Sub-School:- Jodhpur
Medium:- Watercolour on Paper

Painter:- Guman
6. Bharat meets Rama at Period:- Circa 18th Century Technique:- Tempera
Chitrakoot Medium:-Water colour on Paper Sub-School:- Jaipur.

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Raja Aniruddha Singh Hara

Painter:- Utkal Ram

Medium:- Watercolour on Paper

Technique:- Tempera

Period:- Circa Early 18th Century

Sub-School:- Bundi

Description

This painting was painted by Utkal Ram at the beginning of 18th Century. In this
painting, a young Rajput king has been shown wearing decorated apparels, jewellery
and a wonderfully decorated turban of Mughal Style on his head. The particular
attraction of this painting is the straight stretched tail of the horse. All the ornamental
elements in this painting have been painted in red, orange and yellowish-brown colours.
The best combination of white coloured horse and apparels of the king are looking very
charming. In the background of the painting, the combination of deep colours has been
used, because the main objects seem to be successful into the attention of the people.

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Maru Ragini

Painter:- Sahibdin

Period:- Circa 18th Century

Medium:- Watercolour on paper

Technique: Tempera

Sub-School:- Mewar

Description

Maru Ragini is an important Miniature painting of 'Ragmala series' of painting painted

The camel is shown in running position and fully decorated according to the status of the
riders. An attendant is proceeding ahead of the camel, while two male escorts with
swords a white horned has been shown running position with both the escorts. In the
background, green and yellow colour have been used with proper effect. All the human
figures have been shown wearing deep coloured apparels and especially male figures
wearing turbans of Mughal style. This painting is surrounded by a simple orange

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coloured border with calligraphy work.

Krishna on Swing

Painter:- Nuruddin

Period:- 1683 A.D.

Medium:- Watercolour on Paper

Technique:- Tempera

Sub-school:- Bikaner

Description

This painting has two panels-

In the left side of the upper panel, Krishna has been shown sitting on an ornamented
swing. Krishna has been shown with blue colour but few ornaments made of Pearl's and
other jewels have been shown around his neck. A yellow scarf dangling from his
shoulders and an ornamented crown is shown on his head and also he worn orange
colour cloth as a loin cloth.

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Krishna is intentionally looking to Radha sitting on a balcony on his right side. Radha has
worn traditional costumes and covered her head with a transparent cloth. She is sitting
on a red carpet and looking towards Krishna. In the backside of the figures are put round
pillows.

In the lower part, Radha and Krishna have been shown sitting separately
on red carpets under a tree. Their dresses are similar to those shown in the upper panel.
But, in this panel, the colour of Krishna's costume has been shown yellow. In this panel,
Radha's attendant has been shown standing beside Krishna. In the background, a mound
up of a mixture of Green and yellow colour has been shown. In this painting, the artist
has also been painted the architecture very beautifully.

Radha (Bani-Thani)

Painter:- Nihal Chand

Period:- 1760A.D. (Circa)

Medium:- Watercolour on Paper

Technique:- Tempera

Sub-school:- Kishangarh

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Description

This painting of Kishangarh is the most famous miniature painting of Rajasthani school.
The government of India had issued a postal stamp on this miniature painting.

In the painting, Radha is smiling mysteriously and her eyes are looking
elongated and beautiful. In this artistic portrait, Radha’s face has been shown large in
size. The forehead is in a proper curvature. The nose is long, sharp and pointed. The
black curly hair is hanging down up to the waist and a thick lock of hair is dangling
down on the cheek. She is very softly holding two buds of lotus in her left hand. In her
right hand, she is holding her gold studded bordered transparent cloth. Her apparels and
jewels have been painted according to the Rajput tradition. The background has been
shown with different gleams of dark- blue colour.

Chaugan Player

Painter:- Dana

Period:- Circa 18th Century

Medium:- Watercolour on paper

Technique:- Tempera

Sub-school:-Jodhpur

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Description

In this painting, the six princesses have been shown playing Polo or Chaugan. All these
six princesses have been shown riding on their well-equipped horse with royal apparels
of different colours. They have been adorned with jewels, covering the heads with
excellent adornments in different styles. They mounted on their horses moving into
different directions, are trying to take the red coloured ball into their own control with
their sticks.

In the foreground, grass has been shown in a particular shape. In the upper
part of the painting has been done by calligraphic work, and the natural elements shown
with the mixture of Green, Yellow and blue colours.

Bharat meets Rama at Chitrakoot

Painter:- Guman

Period:-Circa 18th Century.

Medium:- Water colour on paper

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Technique:- Tempera

Sub-school:- Jaipur

Description

In this painting, the artist has painted an episode of the Ramayana through 49 very
ordinary human figures. In this composition, Bharat and Shatrughna with their wives,
mothers, preceptors and other officials around arrived at Chitrakoot and they all have
been shown trying to persuade Rama, Lakshman and Sita to come back to Ayodhya.
Rama has been shown riddle coloured clothes. All mothers have been shown in white
clothes. Bharat and Shatrughna have worn similar light purple clothes. The preceptors
have been shown in white beared and wearing pink clothes.

In the upper part of the painting Rama, Lakshman and Sita have been
shown in different countenances greeting the mothers.

In the lower part of the painting Rama is shown making hospitality of the
preceptors. At one place, having heard the sad news of the death of his father and Rama
has been shown fainted.

In the upper part, Sita is discussing with her mother's in law and others.
At one place, Rama has been shown begging apology from his preceptor and Lakshman
standing behind him.

In the background, there have been shown some different types of

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