Fine Arts - II Ncert

An Introduction to
Indian Art
Part II
Textbook in Fine Arts

for Class XII
2021–22
0_Prelims.indd 1 01 Sep 2020 03:02:09 PM

First Edition ISBN- 978-93-5292-337-3
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2021–22

Foreword
The National Council of Educational Research and Training
(NCERT), being at the helm of school education in India, has taken
the initiative of developing the curriculum and syllabi in different
art related areas for higher classes, especially, since the National
Curriculum Framework (NCF)–2005 came into practice. There
has been a noticeable shift in the development of textbooks, their
presentation, interdisciplinary approach, typology of exercises, etc.
The National Education Policy (NEP)–2020, too, recommends
that students will be given increased flexibility and a wide choice
of subjects to study, particularly, at the secondary school stage,
including subjects of art and craft, so that they can design their
own paths of study and life plans. Therefore, at the senior secondary
stage, which is also the school leaving stage, they should have
more options to explore in different fields of higher or professional
education.
At this stage of education, emphasis has been laid on professional
approach towards the subject of visual or fine arts, making it a
discipline rather than only creating awareness and knowledge,
which is generic in nature till the secondary classes. The learning
objectives also shift towards sharpening of skills in fine arts and
developing a perspective in design, instead of free expression and
doing arts in the early stages of education. There has been an
emphasis on students’ expressing themselves in their own language
and medium. Also, there has been a need to develop a historical
perspective of art in the larger context of the world, as well as,
India. Art history is a part of studies in arts and a major area of
education, from which the students can learn about the country’s
rich cultural heritage.
It was observed that many education boards offer visual or fine
arts as an optional subject at the senior secondary stage, which
includes painting, sculpture, applied arts or commercial arts.
These were reviewed and a new syllabus was formed. Since this
course apart from the practical component includes theory, which
introduces students to the country’s diverse historical heritage of
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iv
art and architecture, this textbook in Fine Arts has been developed
for Classes XI and XII.
Our attempt is to bring a comprehensive view of the history of
Indian art, and see it chronologically and in continuity with the
present day. As an organisation committed to systemic reform and
continuous improvement in the quality of its products, NCERT
welcomes comments and suggestions, which will enable us to
undertake further revision and refinement.
Hrushikesh Senapaty
Director
New Delhi National Council of Educational
August 2020 Research and Training
2021–22

Preface
During the British rule in the nineteenth century, few British
colonial officers took active interest in studying India’s past in
collaboration with Indian scholars, and a systematic study of
architectural monuments, sculptures and paintings began in the
Indian subcontinent. With the study of religious texts, history
of religion was studied and identification of icons, sculptures
and paintings was initiated, which became a dominant area of
early scholarship.
As the study of art history has grown out of extensive
documentations and excavations, one finds description of art objects
as a prominent method of study. There are few significant studies of
the early twentieth century, where concerns are addressed beyond
mere description. Subsequently, several generations of Western and
Indian scholars of Indian art history have studied the subject at great
depth, making us realise the magnificent past of the Indian civilisation
reflected in the architectural monuments, sculptures and paintings.
We can claim a distinct Indian approach to the arts of building
edifices, sculpture making and language of painting in comparison
with the European art on one hand and the far Eastern art on the
other. Therefore, the Indian art historical studies have emerged as a
prestigious academic discipline at university level education.
Often, the study of art objects is based on two important
approaches — formalistic or stylistic analysis and content and
contextual studies. The first category involves the study of formalistic
characteristics of architecture, sculpture and paintings, whereas,
the second concentrates on content analysis, which has several
components, such as iconographic study, iconology, narratives
and semiotics.
In this series of textbooks for Classes XI and XII, Class XI
textbook introduces different visual art forms, such as murals,
paintings, sculptures, architecture, etc., from the beginning to the
medieval periods. This textbook for Class XII includes chapters on
the development of painting traditions in India during the medieval
and modern periods.
Considering the level of young generation learners, belonging to
the higher secondary stage, the textbook outlines few examples to
create an understanding of the nature of developments in Indian art.
There are eight chapters in this textbook and each deals with a
particular school or period of painting and other visual arts. The first
chapter talks about palm leaf manuscript painting in Western and
Eastern India, which serves as a backdrop of further development
in various schools of painting, discussed in the following chapters.
The second chapter deals with ‘The Rajasthani Schools of Painting’.
Each school of Rajasthani paintings belongs to a different darbar of
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vi
a Rajput king and has unique features in its composition, colours,

context and depiction of human, as well as, flora and fauna,
architecture, etc. The third chapter talks about how the Mughal rule
in the Indian subcontinent, in its almost 250 years, brought in a
culture from Persia that amalgamated local, as well as, other foreign
cultural practices and became indigenous in due course of time.
The workmanship had different influences in visual features. The
paintings had an array of subjects from historical texts, illustrated
biographies, literary and religious manuscripts, epics, study of flora
and fauna, ordinary people, etc.
Further down in Deccan provinces, painters and royal patrons
developed a unique school of painting that had influences of
the Mughal style. However, it was largely related to the regional
cultures and heavily influenced by the Persian artistic aesthetics.
The Deccani schools have been dealt with in the fourth chapter.
Almost at the same time, Himalyan kingdoms of Rajput kings
in Garhwal, Kumayun, Himachal and Jammu regions gave shelter
to many artists of Delhi, who beautifully adopted the local features
and characters, as well as, subject in their paintings. Chapter five
describes the Pahari Schools of Painting. With the crumbling of
the Mughal power in northern India and coming in of British and
other Europeans as traders and later becoming rulers, Indian
identity once again faced the crisis. But at the same time, it absorbed
new things, both in content and technique, and came up with new
ideas of nationalism. The sixth chapter takes us through the journey
of an artistic era with many new developments.
The new Sun of freedom shining on the country’s horizon saw
different modern trends, which have been highlighted in the seventh
chapter. A new definition of individual artistry and experimentation
became evident in the post–Independence years till date. The last
chapter takes the students through the local living traditions
of crafts in the country, practised by various communities over
generations, passing on the unique art forms without much change
in their spirit.
The textbook also carries a glossary of words and terms used in
the chapters. In Bibliography, select references of books have been
given, which can be beneficial for the students and teachers. Each
chapter is embedded with a Quick Response (QR) code. Besides,
there is a single QR code for the entire textbook.
Each chapter is illustrated with representational coloured
plates, descriptions and captions. Looking at the captions of the
photographs, one can learn that the works of Indian art have been
displayed across the continents in numerous museums, galleries
and collections. The QR codes take one to many similar visuals and
one can explore a plethora of them online at the official websites
of these museums.
2021–22

Textbook Development Committee
Chief Advisor
Ratan Parimoo, Professor and Dean (Retd.), Faculty of Fine Arts,
M. S. University of Baroda, Vadodara, Gujarat
Advisor
Nuzhat Kazmi, Dean, Faculty of Fine Arts, Jamia Millia Islamia,
New Delhi
Members
Komal Pande, Assistant Curator, National Museum, New Delhi
Parul Dave Mukharji, Professor, School of Arts and Aesthetics,
Jawaharlal Nehru University, New Delhi
Ri t a Sodha, Assistant Professor, Fa culty of Fin e Ar ts,
M. S. University of Baroda, Vadodara, Gujarat
Member–coordinator
Jyotsna Tiwari, Professor, Department of Education in Arts and
Aesthetics, NCERT, New Delhi
2021–22

2021–22

Acknowledgements
The NCERT expresses gratitude towards all people and institutions
involved in the development of this textbook. The images used in the
textbook have been sourced from various museums and collections,
both public and private, located in different parts of the country and
abroad. Each image carries a caption, which mentions its details,
including source. The following is a list of museums and collections
from where the images have been taken.
Aga Khan Museum, Canada
Allahabad Museum, Prayagraj
Bharat Itihas Sanshodhak Mandal, Pune
Bharat Kala Bhawan, Varanasi
British Museum, London
Chester Beatty Library, Dublin
Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai
Colnaghi Gallery, London
India Office Library, British Library, London
Los Angeles County Museum of Art, USA
The Metropolitan Museum of Art, New York
Museum of Applied Arts, Vienna
Museum für Islamische Kunst (The Museum of Islamic Art), Berlin
N. C. Mehta Gallery, Ahmedabad
National Crafts Museum and Hastakala Academy, New Delhi
National Gallery of Modern Art, New Delhi
National Museum, New Delhi
National Museum, Prague
Nature Morte Gallery, New Delhi
Raja Raghubir Singh Collection, Shangiri, Kullu Valley
The San Diego Museum of Art, California
Smithsonian Institution, Washington D. C.
Victoria and Albert Museum, London
Victoria Memorial Hall, Kolkata
Visva-Bharati University, Shantiniketan
Thanks are also due to Suchita Raut, Head, Department of Arts
and Crafts, Delhi Public School, Neelbad, Bhopal; Pragya Verma,
Deputy Secretary (Academic), Central Board of Secondary Education;
Ajit Kumar and Satish Kumar, Research Scholars, School of Arts
and Aesthetics, Jawaharlal Nehru University, New Delhi; and
Preeti Priya, Junior Project Fellow, Department of Education in
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x
Arts and Aesthetics; for providing support during the textbook

development process.
We are also grateful to Shveta Uppal, Chief Editor, Publication
Division, NCERT, for going through the manuscript and giving her
valuable suggestions. Sweta Jha, Editor (Contractual), is appreciated
for copyediting and finalising the textbook.
Thanks are due to Anita Kumari, Mohammad Atir and Sanjid
Ahmad, DTP Operators (Contractual), for flawless layout and design.
2021–22

Contents
Foreword iii
Preface v
1. The Manuscript Painting Tradition 1

2. The Rajasthani Schools of Painting 10
3. The Mughal School of Miniature Painting 35
4. The Deccani Schools of Painting 55
5. The Pahari Schools of Painting 67
6. The Bengal School and Cultural Nationalism 85
7. The Modern Indian Art 99
8. The Living Art Traditions of India 127
Glossary 144
Bibliography 149
2021–22

2021–22

The Manuscript Painting Tradition 1
T he third Khanda of the Vishnudharmottara Purana,
a fifth century text has a chapter Chitrasutra, which
should be considered as a source book of Indian art in
general and painting specifically. It talks about the art of
image making called pratima lakshana, which are canons
of painting. The Khanda also deals with the techniques,
tools, material(s), surface (wall), perception, perspective
and three-dimentionality of human figures. Different limbs
of painting, such as roopbheda or looks and appearance;
pramana or measurments, proportion and structure; bhava
or expressions; lavanya yojana or aesthetic composition;
sadrishya or resemblance; and varnikabhanga or use of
brush and colours have been explained at length with
examples. Each of these have many sub-sections. These
canons were read and understood by artists and followed
through centuries, thus, becoming the basis of all styles and
schools of painting in India.
Paintings from the medieval period have earned a
generic name, for example miniature paintings, owing to
their relatively smaller size. These miniature paintings
were hand-held and observed from a closer distance due to
their minutiae. The walls of a patron’s mansions were often
decorated with mural paintings. Hence, these miniatures
were never intended to be put up on the walls.
A large section of paintings are appropriately referred to
as manuscript illustrations as they are pictorial translations
of poetic verses from epics and various canonical, literary,
bardic or music texts (manuscripts), with verses handwritten
on the topmost portion of the painting in clearly demarcated
box–like space. Sometimes, one finds the text not in the front
but behind the work of art.
Manuscript illustrations were methodically conceived in
thematic sets (each set comprising several loose paintings
or folios). Each folio of painting has its corresponding text
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1_1.Manuscript Paintings.indd 1 01 Sep 2020 02:51:29 PM

2 An Introduction to Indian Art —Part II
inscribed either in the demarcated space on the upper portion

of the painting or on its reverse. Accordingly, one would have
sets of the Ramayana paintings, or Bhagavata Purana, or
Mahabharata, or Gita Govinda, Ragamala, etc. Each set was
wrapped up in a piece of cloth and stored as a bundle in the
library of the king or patron.
Sravakapratikramasutra-curni
of Vijayasimha
Mewar, written by
Kamalchandra,1260
Collection: Boston 
The most important folio-page of the set would be the

colophon page, which would furnish information regarding
the names of the patron, artist or scribe, date and place
of commission or completion of the work, and other such
important details.
However, due to ravages of time, the colophon pages
have often gone missing, compelling scholars to attribute
missing particulars on the basis of their expertise. Being
fragile pieces of artworks, paintings are susceptible to
mishandling, fire, humidity, and other such calamities and
disasters. Considered as precious and valuable artifacts and
also being portable, paintings were often gifted to princesses
as part of their dowries when they got married. They were
also exchanged as gifts between kings and courtiers as acts
of gratitude and traded to distant places. Paintings also
travelled to remote regions with moving pilgrims, monks,
adventurers, traders and professional narrators. Thus, for
instance, one would find a Mewar painting with the Bundi
king and vice versa.
Reconstructing the history of paintings is a phenomenal
task. There are fewer dated sets compared to undated ones.
When arranged chronologically, there are vacuous spells in
between, where one can only speculate the kind of painting
activity that could have thrived. To make matters worse, the
loose folios are no longer part of their original sets and are
dispersed in various museums and private collections, which
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keep surfacing time and again, challenging the constituted

timeline and compelling scholars to modify and redefine the
chronology in history. In this light, undated sets of paintings
are ascribed a hypothetical timeframe on the basis of style
and other circumstantial evidence.
Western Indian School of Painting

Painting activity that thrived largely in western parts of
India constitutes the Western Indian School of Painting with
Gujarat as its most prominent centre, and southern parts
of Rajasthan and western parts of Central India as other
centres. With the presence of some significant ports in
Gujarat, there was a network of trade routes passing
through these areas, especially, making merchants, traders
and local chieftains powerful patrons of art due to the wealth
and prosperity that trading brought in. The merchant class,
largely represented by the Jain community, led to become
significant patrons of themes related to Jainism. Hence, part
of the Western Indian School that depicts Jain themes and
manuscripts is known as the Jain School of Painting.
Jain painting also received impetus because the concept
of shaastradaan (donation of books) gained favour amidst the
community, where the act of donating illustrated paintings to
the monastery’s libraries called bhandars (repositories) was
glorified as a gesture of charity, righteousness and gratitude.
Birth of Mahavir, Kalpasutra,

fifteenth century,
Jain Bhandar, Rajasthan
Among the most widely illustrated canonical text in

the Jain tradition is Kalpasutra. It has a section, reciting
events from the lives of the 24 Tirthankaras — from their
births to salvation — that provides a biographical narrative
for artists to paint. The five key incidents roughly elaborated
as — conception, birth, renunciation, enlightenment and first
sermon, and salvation from the lives of Tirthankaras and
2021–22

events leading to and around these — comprise most part of

Mahavir’s mother
Trishala dreams
the Kalpasutra.
about 14 objects
when she conceives
Mahavir. They are —
an elephant, a bull, a
tiger, goddess Shri, a
kalash, a palanquin,
a pond, a rivulet, fire,
banners, garlands,
heap of jewels, the Sun
and the moon.
She consults an
astrologer to interpret
her dream and was
told that she will give
birth to a son, who
will either become
a sovereign king or
a great saint and
teacher.
Trishala’s fourteen dreams,

Kalpasutra, Western India
Other popularly painted texts are Kalakacharyakatha

and Sangrahini Sutra, among others. Kalakacharyakatha
narrates the story of Acharya Kalaka, who is on a mission
to rescue his abducted sister (a Jain nun) from an evil king.
It recounts various thrilling episodes and adventures of
Kalaka, such as him scouring the land to locate his missing
sister, demonstrating his magical powers, forging alliances
with other kings, and lastly, battling the evil king.
Uttaradhyana Sutra contains the teachings of Mahavir
that prescribe the code of conduct that monks should follow
and Sangrahini Sutra is a cosmological text composed in the
twelfth century that comprises concepts about the structure
of the universe and mapping of space.
Jains got these texts written in numerous copies. They
were either sparsely or profusely illustrated with paintings.
Hence, one typical folio or painting would be divided into
sections with allocated spaces for writing the text and painting
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Kalaka is seen on
the lower right and
his captive sister is
depicted towards the
top left. The donkey
with magical powers
is spewing arrows at
Kalaka’s army of kings.
The evil king presides
from the inside the
circular fort.
Kalakacharyakatha
1497, N. C. Mehta Collection,
Ahmedabad, Gujarat
what is written. A small hole in the centre was created for a

string to pass through to fasten the pages together that were
in turn protected with wooden covers called patlis, placed on
top and bottom of the manuscript.
Early Jain paintings were traditionally done on palm leaves
before paper was introduced in the fourteenth century and
the earliest surviving palm leaf manuscript from the western
part of India dates back to the eleventh century. The palm
leaves were adequately treated before painting and the writing
was etched upon the leaves with a sharp calligraphic device.
Planetary bodies and

the distance between
them, Sangrahini Sutra,
seventeenth centrury,
N. C. Mehta Collection,
Ahmedabad, Gujarat
Owing to the narrow and small space on palm leaves,
painting, initially, was largely confined to patlis that were
liberally painted in bright colours with images of gods and
goddesses, and incidents from the lives of Jain acharyas.
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Jain paintings developed a schematic and simplified

language for painting, often dividing the space into sections
to accommodate different incidents. One observes a penchant
for bright colours and deep interest in depiction of textile
patterns. Thin, wiry lines predominate the composition
and three-dimensionality of the face is attempted with an
addition of a further eye. Architectural elements, revealing
the Sultanate domes and pointed arches, indicate the
political presence of Sultans in the regions of Gujarat, Mandu,
Jaunpur and Patan, among others, where these paintings
were done. Several indigenous features and local cultural
lifestyle is visible through textile canopies and wall hangings,
furniture, costumes, utilitarian things, etc. Features of the
landscape are only suggestive, and usually, not detailed.
A period of roughly hundred years from about 1350–1450
appears to be the most creative phase for Jain paintings.
One observes a shift from severely iconic representations to
inclusion of attractively depicted aspects of landscape, figures
in dance poses, musicians playing instruments, which are
painted in the margins of the folio around the main episode.
Indra praising
Devasano Pado, Kalpasutra,
Gujarat, about 1475.
Collection: Boston
These paintings were lavishly painted with profuse use of

gold and lapis lazuli, indicating the wealth and social status
of their patrons.
Over and above these canonical texts, Tirthipatas,
Mandalas and secular, non-canonical stories were also
painted for the Jain community.
Besides Jain paintings that were patronised by rich
merchants and dedicated devotees, a parallel tradition of
painting existed amongst feudal lords, wealthy citizens and
other such people during the late fifteenth and sixteenth
centuries that encompassed illustrations of secular, religious
and literary themes. This style represents the indigenous
2021–22

tradition of painting before the formulation of court styles of

Rajasthan and intermingling of Mughal influences.
A large group of works of the same period, portraying
Hindu and Jain subjects, such as the Mahapurana,
Chaurpanchashika, Aranyaka Parvan of the Mahabharata,
Bhagvata Purana, Gita Govinda, and few others are
representative of this indigenous style of painting. This phase
and style is also casually referred to as pre-Mughal or
pre-Rajasthani, which is largely synonymous with the term
‘indigenous style’.
Chaurpanchasika,
Gujarat,
fifteenth century,
N. C. Mehta Collection,
Ahmedabad, Gujarat
Distinctive stylistic features evolved during this phase and

with this group of paintings. A particular figure type evolved
with an interest in depicting transparency of fabrics — odhnis
Mitharam,
‘ballooned’ over the head of heroines and draped with stiff and Bhagvata Purana, 1550
standing edges. Architecture was contextual but
suggestive. Different kind of hatchings evolved
for depiction of water bodies and particular
ways of representing the horizon, flora, fauna,
etc., got formalised. All these formal elements
make their way in the seventeenth century early
Rajasthani paintings.
With several regions in the north, east and
west coming under the rule of the Sultanate
dynasties from Central Asia after the late
twelfth century, another strain of influence —
2021–22

Persian, Turkic and Afghan — percolated into

the mainland and appeared in the paintings
patronised by the Sultans of Malwa, Gujarat,
Jaunpur and such other centres. With few
Central Asian artists in these courts working
with local artists, an intermingling of Persian
features and indigenous styles led to the
emergence of another style that is referred to
as the Sultanate School of Painting.
This represents more of a ‘style’ than a
‘school’ that has a hybrid Persian influence —
indigenous pictorial style, which is an interesting
coming together of indigenous features as
described earlier and Persian elements, such
as colour palette, physiognomy, simplified
landscape with decorative details, etc.
Nimatnama (Book of Delicacies) the most
representative example of this school was
painted at Mandu during the reign of Nasir
Shah Khalji (1500–1510 CE). It is a book of
recipes with a section on hunting, and also has
Nimatnama, Mandu,1550,
British Library, London methods for preparation of medicines, cosmetics, perfumes
and directions on their use.
Stories with undertones of Sufi ideas were also gaining
favour and Laurchanda paintings are example of this genre.
Pala School of Painting

Like the Jain texts and paintings, the illustrated manuscripts
of the Palas of eastern India also form the earliest examples
of paintings from the eleventh and twelfth centuries. Pala
period (750 CE to the mid–twelfth century) saw the last great
phase of Buddhist art in India. Monasteries, such as Nalanda
and Vikramsila were great centres of Buddhist learning, and
art and numerous manuscripts were illustrated here with
Buddhist themes and images of Vajrayana Buddhist deities
on palm leaves.
These centres also had workshops for casting of bronze
images. Students and pilgrims from all over South East
Asia came to these monasteries for education and religious
instruction, and took back specimens of Pala Buddhist
art in the form of bronze and illustrated manuscripts.
2021–22

Lokeshvar, Astasahasrika Prajnaparamita,

Pala, 1050, National Museum, New Delhi
This practice enabled the dispersal of Pala art to places, such

as Nepal, Tibet, Burma, Sri Lanka and Java.
Unlike the terse lines of Jain painting, a flowing and
sinuous line in subdued colour tones characterises Pala
paintings. Like at Ajanta, the sculptural styles of Pala at
monasteries and the painterly images have a similar language.
A fine example of a Pala Buddhist palm leaf manuscript is
Astasahasrika Prajnaparamita (Bodleian Library, Oxford) or
the ‘Perfection of Wisdom’ written in eight thousand lines.
Painted at the monastery of Nalanda in the fifteenth year
of the reign of the Pala King, Ramapala, in the last quarter
of the eleventh century, it has six pages of illustrations and
wooden covers painted on both sides.
Pala dynasty weakened with the coming of Muslim
invaders. Pala art came to an end in the first half of the
thirteenth century when the Muslim invaders attacked and
caused destruction to the monasteries.
Exercise
1. What are manuscript paintings? Name two places, where
the tradition of manuscript painting was prevalent?
2. Take a chapter from any one of our language textbooks and
make an illustrated folio with selected text (in minimum
five pages).
2021–22

The Rajasthani Schools of Painting 2
T he term ‘Rajasthani Schools of Painting’ pertains to
the schools of painting that prevailed in the princely
kingdoms and thikanas of what roughly constitutes Rajasthan
and parts of Madhya Pradesh in the present time, such as
Mewar, Bundi, Kota, Jaipur, Bikaner, Kishangarh, Jodhpur
(Marwar), Malwa, Sirohi and other such principalities largely
between the sixteenth and early nineteenth centuries.
Scholar Anand Coomaraswamy in 1916 coined the term
‘Rajput Paintings’ to refer to these as most rulers and patrons
of these kingdoms were Rajputs. He, specifically, coined it to
categorise and differentiate this group from the much known
Mughal School of Painting. Therefore, Malwa, comprising
princedoms of Central India, and the Pahari Schools that
comprises the pahari or mountainous Himalayan region of
north-western India was also in the ambit of Rajput Schools.
For Coomaraswamy, the nomenclature represented the
indigenous tradition of painting prevalent in the mainland
before the conquest by the Mughals. Studies in Indian
paintings have come a long way since then and the term
‘Rajput Schools’ is obsolete. Instead, specific categories,
such as Rajasthani and Pahari are employed.
Though separated by short distances, the pictorial
styles that emerged and evolved in these kingdoms were
significantly diverse in terms of either execution — fine or
bold; preference of colours (brilliant or gentle); compositional
elements (depiction of architecture, figures and nature);
modes of narration; affinity for naturalism — or had emphasis
on extreme mannerism.
Paintings were painted on waslis — layered, thin sheets of
handmade papers glued together to get the desired thickness.
The outline was sketched on waslis in black or brown
followed by colours fixed therein by brief notations or sample
patches. Colour pigments were predominantly obtained from
minerals and precious metals like gold and silver that were
mixed with glue as the binding medium. Camel and squirrel
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1_2.Rajashtani Painting.indd 10 01 Sep 2020 02:13:31 PM

hair were used in brushes. On completion, the painting was

burnished with an agate to lend it a uniform sheen and an
appealing resplendence.
The painting activity was a kind of teamwork, with the
master artist composing and doing preliminary drawings,
followed by pupils or experts of colouring, portraiture,
architecture, landscape, animals, etc., taking over and doing
their bit, and finally, the master artist putting the finishing
touches. The scribe would write the verse in the space left
for the one.
Themes of Paintings – An Overview

By the sixteenth century, Vaishvanism in the cults of Rama
and Krishna had become popular in many parts of western,
northern and central India as part of the Bhakti movement
that had swept the entire Indian subcontinent. Krishna had
a special appeal. He was not only worshipped as God but
also as an ideal lover. The notion of ‘love’ was cherished as a Krishna and gopis in the forest,
Gita Govinda, Mewar, 1550,
religious theme, where a delightful synthesis of sensuousness Chhatrapati Shivaji Maharaj
and mysticism was perceived. Krishna was perceived as the Vastu Sangrahalaya, Mumbai
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creator from whom all creation was a sportive emanation,

and Radha, the human soul who led to offer herself to
God. The soul’s devotion to the deity is pictured by Radha’s
self-abandonment to her beloved Krishna epitomised in
Gita Govinda paintings.
Composed in the twelfth century by Jayadeva, who is
believed to have been the court poet of Lakshmana Sen of
Bengal, Gita Govinda, the ‘Song of the Cowherd’, is a lyrical
poem in Sanskrit, evoking shringara rasa, portraying the
mystical love between Radha and Krishna through worldly
imageries. Bhanu Datta, a Maithil Brahmin who lived in
Bihar in the fourteenth century, composed another favourite
text of artists, Rasamanjari, interpreted as the ‘Bouquet of
Delight’. Written in Sanskrit, the text is a treatise on rasa
and deals with the classification of heroes (nayakas) and
heroines (nayikas) in accordance with their age — baal, taruna
and praudha; physiognomic traits of appearance, such as
padmini, chitrini, shankhini, hastini, etc., and emotional
states, such as khandita, vasaksajja, abhisarika, utka, etc.
Though Krishna is not mentioned in the text, painters have
introduced him as the archetypal lover.
Rasikapriya, translated as ‘The Connoisseur’s Delight’,
is replete with complex poetic interpretations and was
composed to incite aesthetic pleasure to elite courtiers.
Composed in Brajbhasha by Keshav Das, the court poet
of Raja Madhukar Shah of Orchha in 1591, Rasikapriya
explores various emotive states, such as love, togetherness,
jilt, jealousy, quarrel and its aftermath, separation, anger,
etc., that are common between lovers represented through
the characters of Radha and Krishna.
Kavipriya, another poetic work by Keshav Das, was
written in the honour of Rai Parbin, a celebrated courtesan
of Orchha. It is a tale of love and its tenth chapter evocatively
titled Baramasa engages with the most enduring climactic
description of the 12 months of the year. While illustrating
the daily life of people in different seasons and alluding to
festivals falling therein, Keshav Das describes how the nayika
prevails upon the nayaka not to leave her and proceed on
a journey.
Bihari Satsai, authored by Bihari Lal, constituting 700
verses (satsai), is composed in the form of aphorisms and
moralising witticism. It is largely held that he composed
the Satsai around 1662 while he was at the court of Jaipur
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working for Mirza Raja Jai singh as the patron’s name appears
in several verses of the Satsai. The Satsai has been largely
painted at Mewar and less frequently in the Pahari School.
Ragamala paintings are pictorial interpretations of ragas
and raginis.
Ragas are traditionally envisioned in divine or human form in

romantic or devotional contexts by musicians and poets. Each
raga is associated with a specific mood, time of the day and
season. Ragamala paintings are arranged in albums invariably
containing 36 or 42 folios, organised in the format of families.
Each family is headed by a male raga, having six female
consorts called raginis. The six main ragas are Bhairava,
Malkos, Hindol, Dipak, Megha and Shri.
Bardic legends and other romantic tales, such as

Dhola-Maru, Sohni-Mahiwal, Mrigavat, Chaurpanchashika
and Laurchanda just to mention a few were other favourite
themes. Texts, such as the Ramayana, Bhagvata Purana,
Mahabharata, Devi Mahatmya and the like were favourites
with all schools of painting.
Moreover, a large number of paintings record darbar
scenes and historic moments; depict hunting expeditions,
wars and victories; picnics, garden parties, dance and music
performances; rituals, festivals and wedding processions;
portraits of kings, courtiers and their families; city views;
birds and animals.
Chaurpanchasika,
Mewar, 1500, N. C. Mehta
Collection, Ahmedabad, Gujarat
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Malwa School of Painting

The Malwa School flourished between 1600 and 1700 CE
and is most representative of the Hindu Rajput courts.
Its two-dimensional simplistic language appears as a
consummation of stylistic progression from the Jain
manuscripts to the Chaurpanchashika manuscript paintings.
Unlike the specificity of Rajasthani schools
that emerged and flourished in precise territorial
kingdoms and courts of their respective kings,
Malwa School defies a precise centre for its origin
and instead suggests a vast territory of Central
India, where it got articulated with a sporadic
mention of few places, such as Mandu, Nusratgarh
and Narsyang Sahar. Among the few early dated
sets are an illustrated poetic text of Amaru Shataka
dated 1652 CE and a Ragamala painting by
Madho Das in 1680 CE. A large number of Malwa
paintings discovered from the Datia Palace
collection supports a claim for Bundelkhand as
the region of painting. But the mural paintings
in the Datia Palace of Bundelkhand defy an
obvious Mughal influence, which is contrary to
the works on paper that are stylistically inclined
towards indigenous two-dimensional austerity. A
complete absence of the mention of patron kings
Raga Megha, and also portraits in this school supports a view
Madho Das, Malwa, 1680, that these paintings were bought by the Datia rulers from
National Museum, New Delhi travelling artists, who carried paintings on popular themes,
such as the Ramayana, Bhagvata Purana, Amaru Shataka,
Rasikapriya, Ragamala and Baramasa, among others.
The Mughal School dominates the scene from the sixteenth

century through the courts of Delhi, Agra, Fatehpur Sikri and
Lahore. Provincial Mughal Schools prospered in many parts
of the country, which were under the Mughals but headed by
powerful and wealthy governors appointed by Mughal emperors,
where pictorial language evolved through an amalgamation
of Mughal and eccentric local elements. The Deccani School
flourished in centres, such as Ahmednagar, Bijapur, Golconda
and Hyderabad from the sixteenth century. The Rajasthani
Schools came into prominence in the late sixteenth and early
seventeenth century, with the Pahari School following in the
late seventeenth and early eighteenth centuries.
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Mewar School of Painting

Mewar is conjectured to be a significant early centre of
painting in Rajasthan, from where, hypothetically, one would
have been able to formalise a continuous stylistic tradition
of painting — from pre-seventeenth century bold, indigenous
styles to the subsequent refined and finer style post Karan
Singh’s contact with the Mughals. However, long wars with
the Mughals have wiped out most early examples.
Therefore, the emergence of the Mewar School is widely
associated with an early dated set of Ragamala paintings
painted at Chawand in 1605 by an artist named Nisardin.
The set has a colophon page that reveals the above vital
information. This set shares its visual aesthetics and has
close affinity with the pre-seventeenth century painting
style in its direct approach, simpler compositions, sporadic
decorative details and vibrant colours.
The reign of Jagat Singh I (1628–1652) is recognised as
the period when pictorial aesthetics got reformulated under
virtuoso artists Sahibdin and Manohar, who added new vitality
to the style and vocabulary of Mewar paintings. Sahibdin
Yuddha Kanda of Ramayana,
painted the Ragamala (1628), Rasikapriya, Bhagvata Purana Sahibdin, Mewar, 1652, India
(1648) and the Yuddha Kanda of Ramayana (1652), a folio of Office Library, London
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Maharana Jagat Singh II

of Mewar hawking, 1744,
Metropolitan Museum of Art,
New York
which is discussed here. Manohar’s most significant work is

that of Bal Kanda of Ramayana (1649). Another exceptionally
gifted artist, Jagannath, painted the Bihari Satsai in 1719,
which remains a unique contribution of the Mewar School.
Other texts like Harivamsha and Sursagar were also
illustrated in the last quarter of the seventeenth century.
Attributed to ingenious artist Sahibdin, Yuddha Kanda,
the Book of Battles, is a chapter in the Ramayana set of
paintings, popularly referred to as the Jagat Singh Ramayana.
Dated 1652, Sahibdin, herein, has crafted a novel pictorial
device that of oblique aerial perspective to impart credibility to
the ambitious scale that war pictures encompass. Deploying
various narrative techniques, he either layers several episodes
into a single painting as this one, or spreads a single episode
over more than one folio. This painting portrays Indrajit’s
devious tactics and use of magic weapons in war.
Painting in the eighteenth century increasingly slithered
away from textual representations to courtly activities and
pastime of the royals. Mewar artists, generally, prefer a bright
colour palette with prominent reds and yellows.
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Nathdwara, a town close to Udaipur and

a prominent Vaishnava centre, also emerged
as a school of painting in the late seventeenth
century. Large backdrops called pichhwais
were painted on cloth for the deity, Shrinathji,
for several festive occasions.
Mewar painting in the eighteenth century
increasingly became secular and courtly in
ambience. Not only an increasing fascination
for portraiture emerged but outsized and
flamboyant court scenes, hunting expeditions,
festivals, zenana activities, sports, etc., were
largely favoured as subjects.
A folio depics Maharana Jagat Singh II
(1734–1752) touring the countryside while on
his way hawking. The country scape perceived
in an oblique view, with the horizon raised at
a tangent in comparison to the foreground
enables the artist to visualise a panoramic
view of limitless vision. The relevance of the
scene lies in its complexity of narration that
also aims at reportage.
Krishna as Shrinathji
celebrating the festival of
Bundi School of Painting Sarad Purnima,
Nathdwara, 1800,
A prolific and distinct school of painting flourished in Bundi National Museum, New Delhi
in the seventeenth century, which is remarkable for its
unblemished colour sense and excellent formal design.
Bundi Ragamala dated 1591, assigned to the earliest
and formative phase of Bundi painting, has been painted at
Chunar in the reign of Bhoj Singh (1585–1607), the Hada
Rajput ruler.
The Bundi school blossomed under the patronage of two
rulers — Rao Chattar Sal (1631–1659), who was made the
governor of Delhi by Shahjahan and played a conspicuous
role in the subjugation of the Deccan; and his son Rao Bhao
Singh (1659–1682), who was an enthusiastic, self-indulging
patron as revealed from numerous portraits that he
commissioned of himself and other dated works. Innovative
developments have been observed under the reigns of his
successors Aniruddha Singh (1682–1702) and Budh Singh,
whose whiskered face is visible in many portraits. Despite
numerous political disputes and having lost his kingdom four
times, he is known to have encouraged the art of painting.
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Painting activity entered its most accomplished phase

albeit for a short time during the long reign of Budh
Singh’s son, Umed Singh (1749–1771), where it acquired
refinement in minuteness of details. Bundi paintings during
the eighteenth century appear to have imbibed Deccani
aesthetics, such as love for bright and vivid colours.
Umed Singh’s successor Bishen Singh (1771–1821) ruled
Bundi for 48 years and was a connoisseur of art. He had
a keen interest in hunting, and him hunting wild animals
frequently figures in the paintings of his period. Under his
successor Ram Singh (1821–1889), the chitrashalain of the
Bundi palace was decorated with mural paintings of royal
Raga Dipak, Chunar
Ragamala, Bundi, processions, hunting scenes and episodes of Krishna’s story.
1519, Bharat Kala Bhavan, Last stages of painting at Bundi are best exemplified by
Varanasi several wall paintings in the palace.
A distinct feature of Bundi and
Kota School is a keen interest in the
depiction of lush vegetation; picturesque
landscape with varied flora, wildlife
and birds; hills and thick jungles; and
water bodies. It also has a series of fine
equestrian portraits. The drawing of
elephants is, particularly, unsurpassed
in both Bundi and Kota. Bundi artists
had their own standards of feminine
beauty — women are petite with round
faces, receding foreheads, sharp noses,
full cheeks, sharply penciled eyebrows
and a ‘pinched’ waist.
Bundi’s earliest phase of painting,
Bundi Ragamala bears an inscription
in Persian that dates back to 1591,
mentions names of its artists — Shaykh
Hasan, Shaykh Ali and Shaykh Hatim,
who introduce themselves as pupils of
master artists, Mir Sayyid Ali and Khwaja
Abddus Samad of the Mughal court.
They mention Chunar (near Benaras)
as the place of origin of the painting,
where Rao Bhoj Singh and his father
Rao Surjan Singh maintained a palace.
Amongst the surviving few folios of
the Chunar set are Raginis Khambavati,
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Bilaval, Malashri, Bhairavi, Patmanjari

and few others.
Raga Dipak is portrayed in a night
setting, seated with his beloved in a
chamber that is warmly illuminated
by flames from the four lamps; two
lamp holders are innovatively shaped
like ornate human figures. The sky is
glittering with innumerable stars and
the moon is turning yellow, indicating
that it is not newly risen but that the
night has progressed and many hours
have passed by for the couple in each
other’s company.
One may observe in this painting
that the finial on the domical structure
of the palace protrudes into the yellow
patch reserved for writing and except
for the label of Dipak Raga nothing else
is written. This gives an insight into the
process of painting and one discerns
that the painting was, usually, finished
before it was passed on to scribe for the
verse to be written. In this case, the
verse was never written and the label
was more of an indication to the artist
as to what he should be painting.
Baramasa is a popular theme of
Bundi paintings. As mentioned earlier,
it is an atmospheric description of the Ashwin, Baramasa, Bundi,
12 months by Keshav Das that is part of the tenth chapter seventeenth century,
Chhatrapati Shivaji Maharaj
of Kavipriya written for Rai Parbin, a celebrated courtesan Vastu Sangrahalaya, Mumbai
of Orchha.
Kota School of Painting

The accomplished tradition of painting at Bundi gave rise
to one of the most outstanding Rajasthani Schools, Kota,
which excels in the depiction of hunting scenes and reflects
an exceptional excitement and obsession for animal chase.
Bundi and Kota were parts of the same kingdom till 1625
when Jahangir divided the Bundi empire and awarded one
part to Madhu Singh, the younger son of Rao Ratan Singh
(son of Bhoj Singh of Bundi), for his bravery in defending him
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against his son Prince Khurram’s (Shah

Jahan) rebellion in Deccan.
After its separation from Bundi,
Kota had its own school, commencing
around 1660s in the reign of Jagat
Singh (1658–1683). In the early period,
the paintings of Bundi and Kota cannot
be distinguished for several decades
as Kota painters borrowed from the
Bundi repertoire. Some compositions
were taken verbatim from Bundi
pictures. However, there is an attitude
of non–conformity apparent in figural
and architectural exaggerations. With
Kota flair for drawing superseding in the
following decades, Kota style of painting
becomes strikingly individual.
By the reign of Ram Singh I
(1686–1708), artists had passionately
enlarged their inventory to a large
variety of subjects. Kota artists seem to
Maharaja Ram Singh I of Kota have been the first to render landscape
hunting lions at Mukundgarh, as the real subject of compositions. Umed Singh (1770–1819)
1695, Colnaghi Gallery, acceded to the throne at the age of 10 years. But his
London
powerful regent Zalim Singh arranged for the young king
to be amused with hunting while he governed the affairs of
the state. Umed Singh, thus, occupied himself with wildlife
and gaming from an early age and spent most of his time in
hunting expeditions. Paintings served as flattering records of
his exploits. Kota painting of this period reflects obsession
with the chase, which became a social ritual, in which even
women of the court participated.
Kota paintings are characteristically spontaneous,
calligraphic in execution and emphasise on marked shading,
especially, the double–lid eye. Artists of the Kota School
excelled in rendering animals and combat.
Bikaner School of Painting

Rao Bika Rathore established one of the most prominent
kingdoms of Rajasthan, Bikaner, in 1488. During his regime,
Anup Singh (1669–1698) instituted a library in Bikaner that
became a repository of manuscripts and paintings. As a result
of long association with the Mughals, Bikaner developed a
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distinctive language of painting that was influenced by the

Mughal elegance and subdued colour palette.
According to inscriptional evidence, several master
artists of the Mughal atelier visited and worked in Bikaner
in the seventeenth century. Karan Singh had employed
Ustad Ali Raza, who was a master painter from Delhi. His
earliest work represents the beginnings of Bikaner School,
which can be dated back to around 1650.
In the reign of Anup Singh, Ruknuddin (whose ancestors
came from the Mughal court) was the master artist, whose style
was an amalgamation of the indigenous idiom with Deccani
and Mughal conventions. He painted significant texts, such
as the Ramayana, Rasikapriya and Durga Satpsati. Ibrahim,
Nathu, Sahibdin and Isa were other well-known painters in
his atelier.
A prevailing practice in Bikaner was to set up studios
called Mandi, where a group of artists worked under the
supervision of a master artist. From inscriptions, it can be Krishna supporting Mount
Govardhan by
gathered that Ruknuddin, Ibrahim and Nathu managed Shahadin, Bikaner,
some of these professional studios. Several Mandis existed 1690, British Museum, London
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in Anup Singh’s reign. On the completion of a

painting, the court archivist entered the name
of the master artist and the date behind the
painting. This practice resulted in the name
of the master artist being inscribed on works
of his pupils, who may not be painting in the
same style as the master. However, it becomes
evident from these entries that the master
artist would occasionally put finishing touches
to the paintings. The term used for this was
gudarayi, literally meaning to ‘lift’. Apart
from its activities of making new miniatures,
the studio was entrusted with the task of
marammat or repairing and making nakals
(copies) of older works.
The custom of having portraits of artists
is unique to the Bikaner School and most of
them are inscribed with information regarding
their ancestry. They are referred to as Ustas or
Ustad. Ruknuddin painted exquisite works in
soft colour tones. Ibrahim’s works have a misty
dreamlike quality. His figures are dainty with
heavily modeled faces. His studio appears to be
most prolific as his name occurs on different
sets of Baramasa, Ragamala and Rasikapriya.
Accounts from the Bahis, royal archival
Krishna playing Flute day-to-day diaries, and numerous inscriptions
surrounded by Cows, on Bikaner paintings make it one of the best documented
Bikaner, 1777,
schools of painting. Inscriptions in Marwari, and occasionally,
National Museum, New Delhi
Persian reveal the names of artists and dates, and in some
cases, even the place of production and occasions for which
the works were commissioned.
Kishangarh School of Painting

Widely held among the most stylised of all Rajasthani
miniatures, Kishangarh paintings are distinguished by their
exquisite sophistication and distinct facial type exemplified
by arched eyebrows, lotus petal shaped eyes slightly tinged
with pink, having drooping eyelids, a sharp slender nose and
thin lips.
Kishan Singh, one of the sons of the king of Jodhpur,
founded the state of Kishangarh in 1609. By the
mid–seventeenth century under the patronage of Man Singh
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Krishna and Radha in a

pavilion, Nihal Chand,
Kishangarh, 1750,
Allahabad Museum
(1658–1706), artists were already working in the Kishangarh

court. A distinctive style of the state with a general tendency
to elongate the human form, making lavish use of green and
penchant for depicting panoramic landscapes had evolved
by the early eighteenth century during the reign of Raj Singh
(1706–1748). With Raj Singh getting initiated into the
Pushtimargiya cult of Vallabhacharya, Krishna Lila themes
became personal favourites for the rulers of Kishangarh and
represented a major portion of their court art.
Sawant Singh’s most celebrated and outstanding artist was
Nihal Chand. Nihal Chand worked for Sawant Singh between
1735 and 1757, and composed paintings on Sawant Singh’s
poetry that portrayed the theme of divine lovers — Radha
and Krishna, in courtly surroundings, often appearing tiny
in the vastness and minutiae of their panoramic landscape
settings. Kishangarh artists reveled in the depiction of vistas
in accentuated colours.
Jodhpur School of Painting

With the political presence of Mughals since the sixteenth
century, influence of their visual aesthetics made its way in
the style of portraiture and depiction of court scenes, etc.
However, the formidable indigenous folkish style was so
widespread and deeply embedded in culture that it resisted
getting overpowered and prevailed in most illustrated sets
of paintings. One of the earliest sets painted in Pali is a
Ragamala set by artist Virji in 1623.
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A productive period of painting was

ushered in by Maharaja Jaswant Singh
(1638–1678) in the mid–seventeenth century.
A trend for documentary painting through
portraiture and depiction of court life started
under his patronage around 1640 and enjoyed
prominence till the advent of photography in
the nineteenth century when it substituted
painting for recording events. Numerous
portraits of Jaswant Singh survive. Due to
his inclination towards the Vallabha cult
of Shrinathji, he patronised many Krishna
related themes with Bhagvata Purana as the
most prominent one.
His successor Ajit Singh (1679–1724)
became the king after 25 years of war with
Aurangzeb, which was fought by legendary
warrior Veer Durgadas Rathore, who
successfully recaptured Marwar. Durgadas
and his heroism got popularly celebrated in
Dhola and Maru,
Jodhpur, 1810, poems and court paintings of Ajit Singh’s period. Durgadas’s
National Museum, equestrian (horse riding) portraits became popular.
New Delhi
The last phase innovative of Jodhpur painting coincided
with the reign of Man Singh (1803–1843). Significant sets
painted during his time are the Ramayana (1804), Dhola-Maru,
Panchatantra (1804) and Shiva Purana. Ramayana paintings
are interesting as the artist has employed his understanding
of Jodhpur to depict Rama’s Ayodhya. Hence, one gets an
inkling into the bazaars, lanes, gateways, etc., of Jodhpur
during that period. This is true for all schools, wherein, local
architecture, costumes and cultural aspects get interwoven
with the stories of Krishna, Rama and others, and get
depicted in paintings.
Man Singh was the follower of the Nath Sampradaya and
paintings of him in the company of the Nath gurus survive.
Also, a set of Nath Charita (1824) was painted.
Inscriptions behind Marwar paintings do not reveal much
information regarding the painting until the nineteenth
century. Seldom, dates are inscribed, and even more rarely,
the names of artists and place of painting find a mention.
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Jaipur School of Painting

The Jaipur School of painting originated in its former
capital Amer, which was nearest of all large Rajput states to
Mughal capitals — Agra and Delhi. Rulers of Jaipur from the
earliest times maintained cordial relations with the Mughal
emperors, who strongly influenced the aesthetics at Amer.
Raja Bharmal (1548–1575) married his daughter to Akbar.
His son Bhagwant Das (1575–1592) was a close friend of
Akbar and his son Man Singh, in turn, was Akbar’s most
trusted general.
Sawai Jai Singh (1699–1743), an influential ruler,
established a new capital city Jaipur named after him in
1727 and shifted from Amer. Jaipur School of paintings
thrived under his reign and emerged as a well-defined
independent school. Court records reveal that some Mughal
painters were brought from Delhi to become a part of his
atelier. He also invited eminent craftsmen and other artists
to settle down in Jaipur and reorganised the Suratkhana,
The Hour of Godhuli, Jaipur,
the place where paintings were made and stored. He was 1780, National Museum,
drawn to the Vaishnavite sect and commissioned numerous New Delhi
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paintings on the theme of Radha and Krishna. Artists during

his reign painted sets based on Rasikapriya, Gita Govinda,
Baramasa and Ragamala, where the hero’s figure is in
striking resemblance with the king. Portrait painting was
also popular during his time and an accomplished portrait
painter, Sahibram, was part of his atelier. Muhammad Shah
was another artist.
Sawai Ishwari Singh (1743–1750) extended the same
patronage to art. Apart from religious and literary texts, he
got scenes of his leisure pursuits painted, such as elephant
rides, boar and tiger hunts, elephant fights, and so on. Sawai
Madho Singh (1750–1767) was attracted towards getting
incidents of his court life recorded.
It was only in the eighteenth century, under the
aspiration of Sawai Pratap Singh (1779–1803) that the
predominant Mughal influence receded and a Jaipur
style with reformulated aesthetics, which was a blend of
Mughal and indigenous stylistic features emerged. This
was a second thriving period for Jaipur and Pratap Singh
employed around 50 artists. He was a scholar, poet, prolific
writer and an ardent follower of Krishna. During his time,
apart from royal portraits and representations of courtly
pomp and splendour, literary and religious themes, such
as Gita Govinda, Ragamala, Bhagvata Purana, etc., got
renewed stimulus.
As elsewhere, many copies were also produced by means
of tracing and pouncing. By the early nineteenth century,
there was a lavish use of gold. Jaipur preferred large size
formats and produced life-size portraits.
Exercise
1. In what ways do you think that the Western Indian
manuscript painting tradition guided the developments of
miniature painting traditions in Rajasthan?
2. Describe different schools of Rajasthani paintings and give
examples to support their characteristics.
3. What is Ragamala? Give examples of Ragamala paintings
from various schools of Rajasthan.
4. Draw a map and label all schools of Rajasthani
miniature paintings.
5. Which texts provided the content or theme for miniature
paintings? Describe them with examples.
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Bhagvata Purana
Illustrating scenes from the Bhagvata Purana, depicting

different scenes from the life of Lord Krishna and his leela,
have been a popular theme throughout the medieval period
for artists. This painting from the collection of National
Museum, New Delhi, shows the killing of demon Shaktasura
by Krishna (1680–1690).
This folio from Bhagvata Purana is a typical example of
Malwa style, where the space is carefully compartmentalised
with each section narrating different scenes of an episode.
One observes scenes of celebration and festivities in the house
of Nanda and Yashoda after the birth of Krishna. Men and
women are singing and dancing (lower left and upper middle
section); overjoyed parents — Nanda and Yashoda — are
involved in charitable activities and are seen donating cows
and calves to Brahmins and well-wishers (middle left and
extreme right); lot of delicious food is being prepared (central
section); women are hovering over baby Krishna to safeguard
him form the evil eye (upper left section) and the narrative
concludes with Krishna toppling, and thus, liberating the
cart demon, Shakatasura, with a gentle kick.
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Maru Ragini
A particular set of Ragamala paintings
from Mewar is, especially, important
as one of its paintings bears crucial
documentary evidence regarding
its artist, patron, place and date of
painting. Maru Ragini is from this set,
which is in the collection of National
Museum, New Delhi. The initial part of
the inscription found on the painting,
representing Maru Ragini, classifies
Maru as the ragini of Raga Shri and
describes her physical beauty and its
effect on her beloved. It is the latter
half that is engrossing as it reads, “…
samvat 1685 varshe aso vad 9 Rana
Shri Jagat Singh Rajen Udaipur
madhe likhitam chitara Sahivdin
bachan hara ne ram ram.”
Samvat 1685 is 1628 CE and
Sahibdin is referred to as chitara,
meaning ‘someone who paints’,
and the act of painting is termed as
likhitam, translated as ‘written’ since
the goal of the artist was to produce
a painterly equivalent to the written
verse inscribed on the painting.
Maru is accommodated as the consort of Raga Shri
because of the popular appeal of Dhola-Maru ballad that is
deeply entrenched in the folklore and oral tradition of the
region. It is the story of a prince named, Dhola, and princess
Maru, who had to undergo numerous struggles to finally
be together. The trials and tribulations, the evil relatives,
battles, tragic accidents, etc., form the plot of the narrative.
Here, they are depicted escaping together on a camel.
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Raja Aniruddha Singh Hara

Aniruddha Singh (1682–1702) succeeded Bhao Singh.
Few remarkable paintings with interesting documentary
evidence have survived from his period. One of them being
the much talked of equestrian portrait of Aniruddha Singh
by artist Tulchi Ram painted in 1680. It epitomises an
artist’s perception of speed and a horse in motion that he
accomplished by completely negating the rendering of the
foreground. The horse is seen galloping so high in the air that
the ground is not visible. The value of such paintings is that
they turn still portraits into narratives. Names of Tulchi Ram
and prince (Kanwar) Aniruddha Singh are inscribed behind
the painting. But in the front, the name of Bharat Singh, the
youngest son of Rao Chattarsal, is inscribed. Some scholars
feel this painting represents Bharat Singh, while a majority
are of the opinion that it represents young Anirrudha Singh
before he ascended to the throne. This painting is in the
collection of National Museum, New Delhi.
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Chaugan Players
This painting, depicting a princess playing Polo (Chaugan)

with companions, by artist Dana represents Jodhpur
painting of Man Singh’s reign. It may or may not be from the
main court as it betrays stylistic influence of many schools,
such as Mughal in the way women are depicted, Deccani in
the way horses are depicted, Bundi and Kishangarh in the
depiction of facial features, and the flat green background is
suggestive of the indigenous preference for flat surfaces. The
painting is inscribed with a line on the upper portion that is
translated as, “beautiful maidens on horsebacks, playing”.
The painting was made in 1810 and is in the collection of
National Museum, New Delhi.
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Krishna Swinging and Radha in

Sad Mood
This painting, illustrating Rasikapriya, is notable as it is
inscribed with a date and name of the artist. Painted in 1683
by artist Nuruddin, who worked in the court of Bikaner from
1674 to 1698, it presents a stark and simple composition with
minimal and suggestive representation of architecture and
elements of landscape. Nuruddin has ingeniously employed
the device of soft undulating mound in the centre to divide the
painting into two sections. It operates as a pictorial prop that
transforms an urban setting into a tree-laden countryside
and vice versa. An architectural pavilion in the upper part
of the painting pictorially qualifies that space as the ‘palatial
interior’, while few trees on the green grassland suggest
‘outdoors and pastoral’ landscape. Hence, one understands
the movement of the narrative from
top to bottom as a progression of
activities from indoors to outdoors.
Appearing in the upper section
of the painting, Krishna seated on a
swing seems to be enjoying himself in
the company of a Gopi at her dwelling.
On learning about his rendezvous
a jilted Radha, stricken with grief,
disappears into the countryside and
finds herself alone under a tree.
Guilt-ridden Krishna, on learning of
Radha’s sorrow, follows her but there
is no truce happening. Meanwhile,
Radha’s sakhi (friend) gets to know of
the fall out and takes on the role of a
messenger and pacifier. She comes to
Krishna and tells him of the misery
and plight of Radha, and implores
him to appease her. This painting is
in the collection of National Museum,
New Delhi.
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Bani Thani
Sawant Singh composed devotional poetry
on Krishna and Radha in Brajbhasha
under the pen name Nagari Das. He is
said to have been passionately in love
with a young singer, who was accorded
the title ‘Bani Thani’, the bewitching lady
of fashion, because of her unparalleled
beauty and elegance. She was an attendant
of Raj Singh’s wife and a gifted poetess,
singer and dancer. Bani Thani was Sawant
Singh’s muse for the poetry he wrote,
celebrating the love of Radha and Krishna.
He writes about her in a poem Bihari Jas
Chandrika, which became the basis for
Nihal chand’s painting of Bani Thani,
thus, representing a blending of poetry and
painting. Troubled by fratricidal conflict,
Sawant Singh, eventually, abdicated the
throne in 1757 and retired to Vrindavan
along with Bani Thani.
The exaggerated facial type of Kishangarh, which becomes
the distinctive and salient stylistic feature of the Kishangarh
School, is believed to have been derived from the attractively
sharp facial features of Bani Thani.
Artist Nihal Chand is attributed with the credit of
contriving this exquisite and characteristic Kishangarh
physiognomy that is perceived in figures of Sawant Singh
and Bani Thani is always represented as Krishna and Radha
in brilliantly coloured, panoramic landscapes.
Radha’s face in Bani Thani as Radha is unique in her
deeply curved eyes, exaggerated arch of the eyebrows, pointed
nose, serpentine curl of hair spiralling down the cheek, thin
lips and pronounced chin. This particular painting is in the
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Rama meets Members of his Family at Chitrakut
This painting of Ramayana by Guman, made between 1740

and 1750, is a classic example of a continuous narrative.
Plain looking huts (parna kutir) raised with basic material,
such as mud, wood and green leaves set in the woods on
the foothills and surrounded by groves establish a typical
rural setting, where this episode of Ramayana unfolds. Artist
Guman begins the narrative from the left and ends it on
the right.
According to the Ramayana, Bharat was away when
Rama was sent to exile. After the passing away of Dashratha,
overcome with grief and filled with remorse, Bharat along
with the three mothers, sage Vasishtha and courtiers visits
Rama to persuade him to return to Ayodhya.
Set in Chitrakut, the story in the painting begins with the
three mothers along with the wives of the princes proceeding
towards the thatched dwellings. On seeing the mothers,
Rama, Lakshmana and Sita bow down in reverence. Bereaved
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Kaushalya rushes to her son Rama and gathers him in her

arms. Rama is, then, seen respectfully greeting the other
two mothers —Sumitra and Kaikeyi. He, then, dutifully
acknowledges the two sages and sits down talking to them.
When the sage breaks the news of Dashratha’s death, Rama
is seen collapsing in anguish. Sumanta is seen devotedly
standing behind the sages. The three mothers and the wives
of Lakshmana, Bharat and Shatrughana are depicted talking
to Sita. The narrative ends with the group exiting the picture
frame on the right. Each character of the story in the painting
is labeled. A verse, describing the same, is also inscribed
on the upper portion of the painting. This painting is in the
2021–22

The Mughal School of Miniature Painting 3
M ughal painting is the style of miniature painting that
developed in the northern Indian subcontinent in the
sixteenth century and continued till the mid–nineteenth
century. It is known for its sophisticated techniques and
diverse range of subjects and themes. The Mughal miniature
painting inspired and resonated in subsequent schools and
styles of Indian painting, thereby, confirming a definite
position for the Mughal style within the Indian school of
paintings.
The Mughals were patrons of various art forms. Every
Mughal successor, based on his taste and preferences,
contributed towards enhancing the status of art, viz.,
calligraphy, painting, architecture, bookmaking, book
illustration projects, etc. They took keen interest in artists’
ateliers and nurtured unprecedented new styles that
heightened and accelerated the existing art scenario of
India. Therefore, for understanding the Mughal Painting, the
political history and genealogy of the Mughal dynasty is often
taken into account.
Influences on Mughal Painting

The Mughal style of miniature painting was responsible for
the amalgamation of indigenous themes and styles along
with Persian and later European themes and styles. The arts
of this period reflect a synthesis of foreign influences and
indigenous flavour. The peak of Mughal painting presented a
highly sophisticated blend of the Islamic, Hindu and European
visual culture and aesthetics. Given this diverse yet inclusive
nature, the affluence of the artworks produced in India during
this period surpasses the conventional and indigenous
Indian and Iranian painting of that time. The significance of
this style lies in the purpose and efforts of its patrons and
the unmatched skill of its artists. Together, they envisaged
and expressed a congregation of tastes, philosophies and
faiths by their extraordinary visual language.
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1_3.Mughal School Folder.indd 35 01 Sep 2020 02:15:59 PM

In the Mughal courts, arts became more formalised as

there were workshops and many artists were brought from
Iran, which resulted in a harmonious blend of Indo-Iranian
styles, especially during its early years. This celebrated
eminence in Mughal art was possible only due to its distinctive
character of assimilating and engaging artists of both Indian
and Iranian origins, who contributed towards making, and
further elevating the artistic paradigm of the Mughal style.
The Mughal atelier consisted of calligraphers, painters, gilders

and binders. Paintings recorded and documented significant
events, personalities and interests of the emperors. These were
meant to be seen by the royals only. The paintings were made
to suit the sensitivity of the royals or often made as intellectual
stimulation. The paintings were a part of manuscripts
and albums.
The tradition of art and painting had rich historical roots

in India about which we have already learned in the previous
chapters. The celebrated Mughal idiom that developed on
the Indian soil should be understood as a consequence of
interaction of various schools, including the pre–Mughal
and contemporaneous art schools of India and Persia. Thus,
the Mughal style did not grow in vacuum. It was nurtured
by direct interaction with other art forms and schools that
already existed. The indigenous Indian and Mughal painting
styles coexisted, assimilated the influences and various
native talents in different ways.
The pre–Mughal and parallel indigenous schools of paintings

in India had their strong distinct style, aesthetics and
purpose. The indigenous Indian style emphasised on flat
perspective, strong use of lines, vivid colour palette, and bold
modelling of figures and architecture. The Mughal style offered
subtlety and finesse, portrayed almost three-dimensional
figures and created optical reality. The royal court scenes,
portraits, depiction of accurate flora and fauna were some of
the favourite themes of the Mughal artists. Thus, the Mughal
painting ushered in a new style and sophistication to the
Indian arts of that time.
The Mughal patrons contributed to the proliferation

of the Mughal style of painting with their distinct artistic
preferences, choice of subjects, philosophies and aesthetic
sensibilities. In the following segment of this chapter, we shall
learn about the development of Mughal miniature painting in
chronological order.
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Early Mughal Painting

In 1526, Babur, the first Mughal emperor, came from present
day Uzbekistan and was a descendent of Emperor Timur
and Chatghtai Turk. With this, he blended the cultural
background and aesthetic sensibilities of Persia and Central
Asia. Babur had a dynamic taste for a variety of arts. He
is reputed to be a man of letters and a keen patron of art,
manuscripts, architecture, gardening, etc. Babur’s detailed
accounts in Baburnama, his autobiography, are narratives
of the emperor’s political carrier and artistic passion.
Baburnama reflects the love and fondness that Babur had as
an outsider for the Indian land and ecology. With his fervour
for detailed writing, Babur established a tradition of keeping
memoirs, a practice which was followed by his successors
in India. The books and albums that were produced in the
royal ateliers were not only calligraphed but also painted.
These books of value were preserved and passed on to
members of the royal family or gifted to those perceived as
deserving. Babur had a keen eye for portraiture and this is
also recorded in his memoirs. Among the artists, who find
mention in Babur’s memoirs is Bihzad. Bihzad’s work was
Princes of the House of Timur,

Abd us Samad,
1545–50, British Museum,
London
2021–22

dainty but he did not draw the faces well; he used to greatly
lengthen the double chin (ghab-ghab); and drew bearded
faces admirably. Bihzad was a master artist from the Persian
school of painting, Herat (now in present day Afghanistan),
and was known for his sophisticated compositions and
colour tints. Also, Shah Muzaffar finds a mention as a
painter, who Babur thought excelled in the representation
of hairstyle. Although Babur spent little time on the Indian
soil and passed away soon after his arrival, his successors
made the country their own and became a part of the
Indian lineage.
Babur was succeeded by his son Humayun in 1530, who
unfortunately fell prey to political unrest, and his life took
many unexpected turns. Dethroned by an Afghan, Sher Khan
(Sher Shah), Humayun took refuge in the court of the Safavid
Persian ruler, Shah Tahmasp. Although inglorious for his
political career, this was fortunate for the startling turn
that the art of manuscript and painting under him took as a
result of his stay in Safavid. It was during his exile in Shah
Tahmasp’s court that Humanyun witnessed the magnificent
Tutinama: The Girl and
artistic tradition of miniature paintings and manuscripts. He
the Parrot, was thrilled to see the skillful artists in practice, creating
1580–1585, Chester splendid works of art for Shah Tahmasp. With the assistance
Beatty Library, Dublin
of Shah Tahmasp, Humayun established his
court in Kabul in 1545. Humayun increasingly
identified himself with a political and cultural
agenda for his dynastic empire that was
eclectic and assimilative. Impressed by the
artists and with an ambition to recreate such
art workshops in India, Humayun brought
back with him the master artists when he
regained power in India. He invited two Persian
artists — Mir Sayyid Ali and Abd us Samad
to establish a studio in his court and carry
out royal paintings. It is important to note
here that both the artists were famous and
respected particularly for their skills in the art
of portraiture.
A bibliophile of discerning sensitivity,
Humayun’s rule began a period of intense
patronage for the art of painting and
calligraphy. From his period, we get clear visual
and textual documents that testify an active
2021–22

interest in building an artistic repertoire and an imperial

atelier. This is an indication of Humayun’s artistic taste and
helps us form a picture of Humayun as a connoisseur and an
aesthete. He founded the Nigaar Khana (painting workshop),
which was also a part of his library. Not much is known
about the size and composition of Humayun’s workshop in
India. However, it is known that he started the project of
illustration of Hamza Nama that was continued by his son
and successor Akbar.
When we look at an extraordinary Mughal painting from
the early period, Princes of the House of Timur (1545–50),
probably by Safavid artist, Abd us Samad, in opaque
watercolour on cotton, we are surprised by its size and
complex structure and display of historical portraits. A
prized possession of the imperial family, it has portraits
that were painted over the original to register the portraits
of successive members of the Mughal dynasty. So, visible in
Babur inspecting the fort of
their physical likeness are portraits of Akbar, Jahangir and Gwalior, Bhure, Baburnama,
Shah Jahan painted subsequently over those painted during 1598, National Museum,
New Delhi
the reign of Humayun.
Open air painting with trees and blossoms,
and royal merrymaking, which depicts the
ancestral members of the Mughal dynasty were
followed after Humayun, who was the patron of
this kind of artwork. The format, theme, figures
and colour palette are remarkably Persian. There
is indeed at this point we may state that there
is no particular dominant element having Indian
inspiration. But soon, this vocabulary changes to
accommodate the growing and peculiar Mughal
sensibility and distinct imperial taste.
The tradition and fascination for painting
started by Humayun was carried forward by
his illustrious son Akbar (1556–1605). Abul
Fazal, the court historian of Akbar, writes about
Akbar’s passion for arts. He records that more
than a hundred artists were employed in the
royal atelier. This included the most skilled
Persian and indigenous Indian artists of that
time. This integrated composition of Indo-Persian
artists led to the development of a unique style
in this period. These artists together undertook
ambitious projects that established new artistic
2021–22

standards with regard to visual language, as well as,

subject matter. Akbar, believed to be suffering from dyslexia
(a condition where a person finds difficulty in reading), laid
great emphasis on illustration of manuscripts. It was under
his patronage that several seminal projects of translation
and illustration of manuscripts were carried out.
The earliest of his projects is the continuation of his father’s
artistic legacy of Hamza Nama, an illustrated account of the
heroic deeds of Hamza, the uncle of Prophet Muhammad.
Akbar took delight in hearing the stories of Hamza, a character
much loved in the Middle East popular and intellectual
circles, which were read out aloud by a professional narrator.
Simultaneously, the corresponding folios and painted Hamza
Nama narrative was held for a clear view. The emperor took
great interest in both pictorial narrative, as well as, recitation
of Hamza Nama. Because of the peculiar function of these
paintings, their format is large. The base surface is cloth
with paper at the back, on which the narrative text is written
to help the narrator and the technique applied is gouache,
which is water-based and in opaque colours.
Spies of Hamza attack the One realises that Mughal paintings were a teamwork
City of Kaymar, 1567–1582, by a group of artists, who could be inspired by a number
Museum of Applied Arts,
Vienna of artistic traditions. The immediate natural surroundings
became the resource from which the images of
flora and fauna were derived and painted. The
painted folios of Hamza Nama are scattered
all over the world and housed in various
collections. It is recorded to have consisted
of 14 volumes with 1400 illustrations and
took nearly 15 years to be completed. The
suggested date of this magnificent project
is 1567–1582 and was completed under the
supervision of two Persian masters — Mir
Sayyid Ali and Abd us Samad.
In Hamza Nama painting, Spies Attack the
City of Kaymar (1567–82), the space is sharply
cut and divided so as to facilitate visual
reading of the narrative. Too much of action
is happening and the vibrant colours are of
great use here to energise the unfolding of this
story, wherein, the spies of Hamza attack the
city of Kaymar. A strong outer line defines the
foliage and other forms. The faces are largely
2021–22

seen in profile. However, three–fourth faces are also shown.

The rich intricate patterns on the floor, columns and canopy
are from Persian sources as also the four-limbed animals
and rocks. Trees and creepers indicate Indian source as also
the rich palette of pure yellows, reds and browns.
Akbar envisioned cultural integration and commissioned
translation of several revered Hindu texts. He commissioned
translation and illustration of revered Sanskrit texts into
Persian. The Persian translation and illustrated version of
the Hindu epic Mahabharata done this period came to be
known as Razm Nama. This was completed in 1589 under the
supervision of master artist Daswant. This manuscript was
scribed in ornate calligraphy and contained 169 paintings.
The translation and illustration of the Ramayana were also
carried out around this time. Artists like Govardhan and
Miskin were celebrated for their visuals of court scenes.
Akbar Nama, an extraordinary manuscript, containing a
detailed account of Akbar’s political and personal life, was
one of the most expensive projects undertaken by Akbar.
Akbar personally engaged with the artists, and supervised and
evaluated the artworks. The Mughal painting under Akbar’s
patronage depicted a variety of subjects, including, detailed
political conquests, seminal court scenes, secular texts,
portraits of important men along with Hindu mythologies,
and Persian and Islamic themes. Akbar’s fascination for
Indian scriptures and regard for India made him one of the
most popular emperors of the country.
In most of the paintings, produced from the time that
the Europeans were in contact with the court of Akbar, we
can see an increasing preference for a category of naturalism
adapted to compliment the growing diversity in medieval India.
Madonna and Child (1580) done in opaque watercolour on
paper is an important early work of the Mughal School of
Painting in this context. Madonna, here, is an extraordinary
theme, which brings the Byzantine art, the European
classical and its Renaissance to the Mughal atelier, where it
is translated and transformed into an entirely different visual
experience. Virgin Mary is draped in a classical manner. The
attachment displayed between the mother and the child was
inspired by the humanist interpretation in the European
Renaissance art. The physiology of the child, certain details
like the fan and jewellery completely integrated the work to
an Indian milieu.
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Inspired by Akbar’s interest in arts,

many sub-imperial courts absorbed this
passion and several great works of art
were produced for aristocratic families,
who tried to copy the Mughal court atelier
taste and produced works that present
distinctive subjects and visual preferences
in regional flavour.
Akbar had formalised the Mughal
miniature style and set standards, which
were further taken to new heights by his
son Jahangir (1605–1627). Prince Salim,
(Jahangir) showed interest in art from an
early age. Unlike his father Akbar, who
commissioned paintings and manuscripts
of politically and religiously significant
aspects, Prince Salim had a curious taste
and encouraged delicate observations and
fine details.
Jahangir employed Aqa Riza, a
well-known Iranian painter and his
son Abul Hasan to achieve unparalleled
sophistication in painting. Despite the
formalised and established imperial atelier
of Akbar, the keen patron in Jahangir
rebelled to set his own atelier alongside his
father’s. Prince Salim came to be known
as Jahangir — the World Seizer once he
acquired the Mughal throne after his return
from Allahabad. Tuzuk-i-Jahangiri, the
memoirs of Jahangir, tells about his great
interest in arts and his efforts of achieving
Madonna and Child, scientific correctness in the rendering flora and fauna that
Basawan,1590, San Diego
Museum of Art, California interested the Emperor the most. Under his patronage, the
Mughal painting achieved naturalism and scientific accuracy
of the highest degree. The curiosity and wonderment that the
Emperor had for nature and people around him is reflected
in the works that he commissioned.
In contrast to the Akbar’s atelier, where the works were
mass produced, Jahangir’s atelier gave preference to a lesser
number and better quality of artworks produced by a single
master artist. The Muraqqas individual paintings to be mounted
2021–22

in albums became popular under

Jahangir’s patronage. The margins of
the paintings were highly illuminated
in gold and embellished with flora,
fauna, and often poised human
figures. The war scenes, portraits,
narrative and storytelling prevalent
in Akbar’s style were overtaken by
minute details and refined rendering
of lavish court scenes, aristocracy,
royal personalities, as well as,
character traits, and distinctiveness
of flora and fauna.
Jahangir was presented with
paintings and decorative objects,
depicting high arts from Europe,
as gifts from the Europeans, who
visited his court. With such a
contact with the English Crown,
Jahangir’s fascination for European
art and theme prompted him to have
more such works in his collection.
Many celebrated religious Christian
themes were also produced in the
royal atelier of Jahangir. Given
this cultural and artistic exposure,
European art sensibilities started
making their way into the prevalent
Indo-Iranian style, thereby, making the Jahangir school of A Prince and a Hermit,
folio from Diwan of Amir Shahi,
art more impressive and vibrant. The spatial depth of the 1595, Aga Khan Museum,
composition and naturalistic representation of life reflect Canada
the high benchmarks that the sensitive patron created for
art during his lifetime. The artists of the Mughal atelier
creatively assimilated the three styles — indigenous, Persian
and European, making the Mughal Art School a melting pot
of vibrant styles of its time yet very distinct in its own way.
Jahangir in Darbar from Jahangirnama (now, dispersed),
attributed to Abul Hasan and Manohar (1620) is an excellent
painting. Jahangir is at the highest level in the centre,
where the eyes move immediately from his figured frame to
stunning white pillars surrounded by sparkling clear colours
and brilliantly framed overhead canopy. On the right side,
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Khurram stands in attendance

with his hands folded, flanked
by his son Shuja, son of Mumtaz
Mahal, who was raised in the court
by Nur Jahan. The courtiers,
who are placed according to
their ranks, are easily identifiable
as their portraiture is perfect and
realistic. Father Corsi, a Jesuit
priest, has his name inscribed
to aid easy identification as he
stands with other known nobles
in the audience. Elephant and
horse add to the ceremonious
importance to this event as
hands are raised and heads bow
to salute Jahangir.
Jahangir’s Dream (1618–22)
by Abul Hasan, given the title
Nadir al Zaman, meaning the
‘Wonder of the Age’, refers to the
Emperor’s dream, in which he
was visited by Persian Safavid
emperor Shah Abbas, his
rival, who possessed the much
desired province of Qandahar.
Interpreting it as good omen, he
had the court artist Abul Hasan
paint the dream. In this painting,
political fantasy takes over
and the presence of Jahangir
dominates the composition. The
Persian Shah appears frail and
vulnerable as he is embraced by
Jahangir in Darbar,
Jahangir. The kings stand on a globe, and between them,
Jahangirnama,
Abul Hasan and Manohar, they hover over much of India and Middle East. Two animals
1620, sleep quietly. However, the symbolism of their depiction does
Museum of Fine Arts, Boston
not escape the viewer. The powerful lion, on which Jahangir
towers, and the docile sheep, on which the Persian Shah
stands, sharing a magnificent resplendent golden halo of the
Sun and Moon held by two winged angels indicate of being
inspired by the incoming European art motifs and imageries
in the Mughal court.
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In the painting, Jahangir enthroned on an

Hourglass (1625), symbolism is creatively applied
by the court painter, Bichitra, who can be seen on
the emperor’s right hand corner holding a painting
in his hand, which would be his offering to the
mighty emperor.
Persian calligraphy adorns the top and bottom,
which in verse says that the Shahs of this world may
stand before him as Jahangir prefers to have the
dervishes. Portrait that resemble the Ottoman Sultan,
King James I of England also stands on the right hand
with gifts for the mighty emperor. Jahangir offers a
book to Shaikh Husain of the Chisti Shrine, descendent
of Shaikh Salim, in whose honour Akbar had named
his son Salim.
The son of Jahangir, Prince Khurram, succeeded the
throne of Delhi by the name Shah Jahan (1628–1658).
With this, he not only acquired a politically stable
empire but also the finest of artist and atelier. Shah Jahangir’s Dream, Abul Hasan,
1618–1622, Smithsonian Institution,
Jahan encouraged the artists in the atelier to create Washington D. C.
magnificent works that were a blend of imagination
and documentation. Idealisation and great stylisation
were preferred over naturalistic rendering and
accurate depiction. The artworks produced under his
supervision concentrated on subliminal qualities and
exalted beautification, which was created by the use
of jewel-like colours, perfect rendering and intricate
fine lines. The higher concepts in the painting were
given much prominence and the visuals were created
meticulously to cull out multitude of interpretations
that a single painting could offer. His love for
sparkling jewels and gems, passion for monumental
architecture and subject choice of paintings inform us
of the majestic image that he wanted to leave behind.
Imperial portraits with glorious titles were painted to
present the personality of the emperor himself.
Padshahnama (The Chronicles of the King) is one
of the most exuberant painting projects undertaken
by his court atelier and reflects the extraordinary
manuscript that presents the height that Indian
miniature painting achieved. The Mughal painting
during this time depicted the impressive play of Jahangir enthroned on an Hourglass,
Bichitra, 1625, Smithsonian Institution,
multiple perspectives, enchanting palate of colours
Washington D. C.
2021–22

and sophisticated compositions to portray royal, historical

and mystic subjects.
The Mughal School of Painting, which had embraced and
presented the exuberating blend of the leading art traditions
of its contemporary world, began to inspire the European
artists of that time. Rembrandt, a celebrated European
painter, was deeply inspired by the Mughal court painting
and made studies of several Indian drawings to master
the delicate lines. His studies show the celebrated position
that the Mughal miniature painting occupied in the world
art scene.
The legitimate successor of Shah Jahan, his son Dara
Shikoh, was denied his empire and life. As a liberal unorthodox
Mughal, Dara’s commitment to Sufi mysticism and deep
Dara Shikoh with Sages in interest in Vedantic school of thought was outstanding. His
a Garden, Bichitra, early
persona has been immortalised in this exceptional painting,
seventeenth century. Chester
Beatty Library, Dublin Dara Shikoh with Sages in a Garden (1635). Loved by his people,
Dara, the scholar, who knew many
languages, including Sanskrit, is
the central theme here. A poet and
connoisseur, he commissioned a
special album of painting to gift
his wife. Unfortunately, Dara, due
to his passion for literature and
philosophy, was misinterpreted
as submissive and that his
personality lacked dexterity for
political administration. Dara,
in apparent contrast to his
brother Aurangzeb, was eclectic,
philosophical and inclusive in his
approach to ideological issues
and conflicts.
In the war of succession
that occurred in the lifetime of
Shah Jahan, he was defeated by
his brother Aurangzeb. Alamgir
Aurangzeb came to power to
stimulate the political scenario
and give it the verve of Akbar’s
period. This succession and series
of battles and conquest in Deccan
India got the Mughal empire back
2021–22

on track. His focus was on the expansion of the Mughal empire

and its unification under his leadership. Aurangzeb did not
put as much effort to elevate the production of the Mughal
atelier. However, unlike the popular belief the royal atelier
was not shut down immediately and continued producing
beautiful pointings.
Later Mughal Painting

Due to gradual decline of ardent patronage, highly skilled
artists left the Mughal atelier and were welcomed by provincial
Mughal rulers. These rulers imitated the Mughal royalties
and wanted to recreate in paintings the glory of their dynasty Bahadur Shah Zafar,
1838, Fogg Museum of Art,
and events of their court. Cambridge, UK
2021–22

Although some masterworks were produced during the

periods of Muhammad Shah Rangila, Shah Alam II and
Bhadur Shah Zafar, these were mere last flickers in the candle
that was the Mughal miniature style. Bahadur Shah Zafar,
painting, dated 1838, was made about two decades before
he was exiled to Burma by the British, who were quick to
see that no claimant to Mughal authority remains anywhere
near Delhi to claim their imperial authority, after the failure
of the Indian Revolt of 1857. He was the last Mughal ruler,
who was also a poet, scholar and connoisseur.
The new political environment, unsettled regional
kingdoms and threat of English ascendancy changed the
art scenario of India yet again. The painters thrived to suit
the changing patrons, their aesthetic concerns, choice of
subject matters and visual language. Eventually, the Mughal
miniature style converged into other styles of the Provincial
and Company School.
Process of Mughal Painting

Most of the paintings that we see as Mughal miniatures
were parts of manuscripts and royal albums, i.e., the visual
and text shared space in a given format. For making book
painting, the following process was adopted. Sheets of
handmade paper were prepared and cut to suit the size of
the manuscript. Designated space was left for the artist to
fill it with a suitable visual composition. Then, the pages
were ruled and filled with text. Once the text was written, it
was given to the artist, who would compose a synoptic visual
representation of the text. The artist would begin from the
stage of making the composition, i.e., tarh, to portraits, i.e.,
chiharanama to the final stage of colouring, i.e., rangamizi.
Colours and Technique of Mughal Painting

The painters in the atelier were also masters of art making
colours. Mughal paintings were made on handmade paper,
which was prepared especially for this purpose. The colours
were opaque and were obtained from natural sources by
grinding and mixing pigments to obtain perfect shades of
colours. The paint was applied using a variety of brushes
made with the hair of squirrels or kittens. In workshops,
painting was a combined effort of a group of artists, among
whom basic draft drawing, grinding and filling in of colours,
2021–22

and adding details were, usually, distributed. However, they

may also have been produced single handedly.
Thus, the artworks produced during the early Mughal
phase were collaborative efforts of the team of artists. And
based on one’s specialisation, each artist would undertake
an aspect of the painting that he was comfortable with
or delegated. Records tell us that the artists were given
incentives and increments in their salary according to the
work done. The recorded names of the master artists also
informs of the position that they enjoyed in the royal atelier.
Once the painting was complete, agate, a gemstone, was
used to burnish the work to set the colours and give desired
radiance to the painting.
Some of the pigments and colours achieved from those
were — vermilion from cinnabar, ultramarine from Lapiz Lazuli,
bright yellow from orpiment, shells grounded for making
white and lampblack from charcoal. Gold and silver powders
were mixed with colours or sprinkled to add extravagance
to a painting.
Project for Students

Select around five quotations from a writer, poet or
philosopher. Translate them into the language of your choice.
Create a manuscript with your translation in a calligraphic
style and ornate borders, drawing inspiration from the
Mughal manuscripts.
Exercise
1. Name two master artists, who were invited to India by
Humayun, and discuss their masterpieces in detail.
2. Out of the several art projects that Akbar undertook, discuss
your favourite work, explaining what you like about it.
3. Make a comprehensive list of artists in the Mughal court,
briefly explaining one painting of each in 100 words.
4. With examples of three paintings of your choice, discuss the
indigenous Indian, Persian and European visual elements
prevalent during the medieval period.
2021–22

Noah’s Ark
Noah’s Ark, from a
dispersed Divan-i Hafiz
painted manuscript of
1590, is an excellent
painting in subdued
colour palette and
has been ascribed
to Miskin, one of the
masters at Akbar’s
imperial atelier.
Prophet Noah is in the
ark, which is carrying
animals in pairs so
that they may continue
to flourish after the
threatening flood sent
by God to punish
human beings for
their sins.
In the painting,
the sons of Noah are
in the act of throwing
Iblis, the devil, who
had come to destroy
the ark. The use of
pure white and subtle
shades of red, blue and
yellow is charming.
The rendering of water
is convincing and the
vertical perspective
infuses the painting
with an element of
heightened dramatic
energy. This painting
lies in the collection
of Freer Gallery of
Art, Smithsonian
Institution,
Washington D. C., USA
2021–22

Krishna lifts Mount Govardhan

Krishna Lifts Mount Govardhan
from a dispersed Harivamsa
Purana is attributed to Miskin
(1585–90). It is in the collection
of the Metropolitan Museum of
Art, New York, USA. Harivamsa
Purana is one of the many
Sanskrit manuscripts, which
were translated into Persian
by the Mughals. This painting
is on a theme from Harivamsa.
Badauni, a scholar noble in the
court of Akbar, was assigned
the job of translating this
volume on Lord Krishna into
Persian. It is interesting to note
that Badauni was famous for
his orthodox religious views,
much unlike Abul Fazl, another
famous scholar chronicler in
Akbar’s court.
Hari or Lord Krishna lifted
the mountain, Govardhan,
with all creatures dwelling
therein with the intention to
protect them — the villagers
and their livestock, who were
his followers, from torrential
rain sent by another powerful
God Indra. Hari uses the
mountain like a huge umbrella,
under which the entire village
takes refuge.
2021–22

Falcon on a Bird Rest

This painting by Ustad Mansur, Nadir ul Asr, a title
received from Jahangir, is in the collection of National
Museum, New Delhi. Jahangir had fine falcons brought
to his collection, and as a keen connoisseur, he had them
painted. These images were included in his official biography
Jahangirnama. There is an interesting episode described by
him of a falcon brought as a present from Persian emperor
Shah Abbas. This is to do with the falcon, which was mauled
by a cat, resulting in its death, and the Emperor desired
his painters to paint the dead falcon, preserving its memory
for posterity.
The painting has text in Devnagari script on the top,
Jahangir Patashah, refers to the portrait of Jahangir on the
facing page, while the words bahari and uttam mean, a ‘falcon’
and ‘excellent’, respectively. The painting shown here, Falcon
Perched on a Bird Rest (1615), is one of the many paintings
that were painted by the Mughal artist, Ustad Mansur.
2021–22

Zebra
The zebra in this painting was from Ethiopia, brought by
Turks, and presented to Mughal emperor Jahangir by his
nobleman Mir Ja’far, who had acquired it. Jahangir wrote
on the painting in Persian, the court language, that it was:
“A mule which the Turks (rumiyan) in the company of
Mir Ja’far had brought from Ethiopia [Habesha]”. Its likeness
was drawn by Nadir ul asr (Wonder of the Age) Ustad Mansur.
In Jahangirnama, it is clearly stated that the animal was
presented to him during Nowruz or New Year festivities in
March 1621. It is also mentioned that Jahangir had carefully
examined it as some thought that it was a horse on which
someone had painted stripes. Jahangir decided to send it to
Shah Abbas of Iran, with whom he often exchanged rare and
unique gifts, including animals and birds. And the Shah would
also send him rare gifts like the Falcon discussed earlier.
The painting later came in Emperor Shah Jahan’s
possession. It was added to the royal album of paintings
and calligraphies. The ornate borders of the painting are
additions made in Shah Jahan’s reign.
2021–22

The Marriage Procession of

Dara Shikoh
This painting, a work by artist Haji Madni, belongs to the
period of Shah Jahan, who built the Taj Mahal in Agra. It
is a portrayal of the marriage procession of Dara Shikoh,
the eldest son of Mughal emperor Shah Jahan. The Mughal
prince is shown mounted on a brown stallion with the
traditional sehra and is accompanied by his father, Shah
Jahan, who has a resplendent nimbus around hid head, riding
a white horse. The marriage procession is accompanied and
received by music, dance, gifts and fireworks. The artist
has created the glamour of the marriage procession with all
its pomp and show. This painting is in the collection of the
National Museum, New Delhi, India.
2021–22

The Deccani Schools of Painting 4
T he history of Deccani Painting can largely be constructed
from the late sixteenth century until the 1680s — the time
when the Mughals conquered the Deccan. It is continued
to be seen in the art of the nineteenth century, as well as,
under the Asafiya dynasty, and finally, in paintings in the
provincial courts of Rajas and Nawabs, ruling various lands
in the State of Hyderabad under the Nizam.
Sultan Adil Shah II
The Deccani style of Painting was placed under playing Tambura, Farrukh
the Indo-Persian art for long. It was considered to be Beg, Bijapur, 1595–1600,
Middle Eastern, Safavid, Persian, Turkish and even Mughal National Museum,
Prague, Czech Republic
in origin. Art historians acknowledged its
uniqueness but failed to recognise it as a
full-fledged school, which was sustained
by a class of rulers, who had their peculiar
political and cultural vision. They hired and
nurtured artists and commissioned works
that enhanced their artistic sensibilities
and specific requirements of governance in
their kingdoms.
The art of portraiture and representation
of historical and religious figures are seen
elsewhere in other contemporary schools of
painting. Mughal portraiture, in this sense,
was not wholly unique. We see such artistic
inclinations in the Safavid and Ottoman
Schools of Painting. The highly documentary
nature of portraits is a singularly unique
development seen extensively in the Asian
Islamic art as also in the Mughal art in India.
In the plateau region of southern India,
beyond the Vindhya mountain range, an
endearing school of painting, which was
distinct and strong, was nurtured and
expanded under various Sultans of the Deccan
in the sixteenth and seventeenth centuries.
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1_4.The Deccani School of Painting.indd 55 01 Sep 2020 02:21:44 PM

The kingdoms of Bijapur, Golconda and Ahmadnagar

developed highly sophisticated and distinct school of court
painting. Its unique sensuality and intense colours have
strong affinity to regional aesthetics. The school preferred
dense composition and attempted to create an aura of
romance, which invariably expressed itself in an idiom that
was eloquently natural and vivid.
Ahmadnagar School of Painting

The earliest examples of Deccani painting are in a volume
of poems, celebrating the reign of Hussain Nizam Shah I
of Ahmadnagar (1553–1565). Most of the 12 miniatures
that illustrate battle scenes are of no artistic interest, but
interestingly, those depicting the queen and her marriage
delight us with gorgeous colours and sensuous lines. The
woman represented in it belongs to the northern tradition
of pre-Mughal painting, which was flourishing especially
in Malwa and Ahmedabad during this period. The women
in the paintings of Ahmadnagar wear a modified northern
Tarif–i–Hussain Shahi: costume with choli (bodice) and long braided pigtails, ending
King sitting on the Throne, in a tassel. Only a long scarf, passing round the body below
Ahmadnagar, 1565–1569,
Bharata Itihasa Samshodaka the hips, is a southern fashion, which is seen in the Lepakshi
Mandala, Poona frescoes. The palette is different from paintings
of northern manuscripts, coming largely from
the Mughal atelier, as they are more rich and
brilliant. Paintings of the Deccan have similar
characteristics. The high circular horizon and
gold sky have Persian influence. We may see
the debt of all Deccani kingdoms, which they
owe to Persia for their landscape idiom.
These feminine dress, present in a series
of Ragamala paintings, are the most striking
and moving examples of the sixteenth century
Deccan Schools of Painting. The women’s hair
is rolled up in a bun on the nape of the neck,
similar to the Lepakshi murals. The horizon,
in the painting, disappears and is replaced
by a neutral coloured ground patterned all
over with small stylised plants, or occupied
by symmetrical architectural domes over
the archades. All these features, except the
hairstyle, have traces of north India or Persia.
2021–22

Male costume is also decisively northern. The jama with

pointed tails is frequently seen in early Akbari miniatures
and probably originated in the area somewhere between
Delhi and Ahmedabad. The small pagri is close to the
form found in the earliest Akbari miniatures. The original
paintings in the Gulistan of 1567 have been attributed by art
historians to the Bukhara artists. Another interesting fact
is that such painters may also have worked in the Deccan.
This supported by a manuscript is now in the collection of
Bankipore Library, Patna. It is signed by a scribe, Yusuf,
and is dedicated to Ibrahim Adil (1569), presumably Ibrahim
Qutb Shah of Golconda, who ruled from 1550–1580. This
manuscript contains seven miniatures that are completely
in the Bukhara idiom of that date.
Bijapur School of Painting

Paintings from Bijapur in the sixteenth century have a
richly illustrated encyclopaedia known as the Nujum al-Ulum Nujum al-Ulum: The Throne
of Prosperity, Bijapur, 1570,
dated 1570. Among the 876 miniatures, which adorn this The Chester Beatty Library,
remarkable little volume, many illustrate weapons and Dublin, Ireland
utensils, while others the constellations. The
women are shown in south Indian dress, tall
and slender as those in the Ragamala paintings.
The school of Bijapur was patronised by Ali
Adil Shah I (1558–1580) and his successor
Ibrahim II (1580–1627), both patrons of art
and literature. The latter was also an expert
in Indian music and author of a book on this
subject, Nauras-nama. He was the owner of
Nujum al-Ulum manuscript and might have
commissioned the Ragamala series in the
1590s. Bijapur had a close connection with
Turkey and astronomical illustrations in Nujum
al-Ulum may have been derived from Ottoman
Turkish manuscripts. The Ragamala are, as
we have seen, Indian in their connections,
with definite echoes of the Lepakshi style. They
exemplify the luxuriant aestheticism of the
Adil Shah court in their daring and brilliantly
successful colouring and vigour of simplified
compositions. The Throne of Prosperity is a
symbolic diagram of an auspicious throne of
2021–22

seven stages, each supported by different inhabitants — from

elephants and tigers to palm trees, through storeys of
peacocks and primitive tribes. The basic structures recall
the wood carved doorways and facades of Gujarati homes
or perhaps remind us of the temples of the Deccan. The
colouring of this page is in Islamic Persian tradition,
especially, the arabesques on the top of the throne. We see it
is surmounted by a Deccani foliage against amazingly deep
blue sky. The stylised plants on either side of the throne have
visual reference to margin decoration in Gujarati manuscript
of say early sixteenth century. There is, thus, a strong Indian
visual tradition that structure this miniature.
The theme of another Deccani painting is Yogini — one
who believes in yoga, leads a disciplined life of physical
Yogini, Bijapur, seventeenth and emotional training, pursues spiritual and intellectual
century, The Chester Beatty
Library, Dublin, Ireland
explorations, and is famous for renunciation of worldly
attachments. But such an attitude was
not usual, and therefore, extraordinary
in practice.
This work is attributed to an artist, about
whom we do not have any record. It is to
be noted that the artist prefers a vertical
composition, where the long standing figure
of the Yogini is complimented by a group of
white structures right at the top, as a tapering,
visual note. The Yogini is preoccupied with a
myna bird as if in conversation. The Yogini
is adorned with jewellery and her hair bun
elongates her visual presence. The long
scarves swirl in rhythmic circle around her
body, which has exquisite flora surrounding
it in exquisite landscape.
Golconda School of Painting

Golconda became an independent state in
1512. By the end of the sixteenth century, it
was the wealthiest of the Deccan kingdoms.
This was largely due to brisk trade from the
ports along the east coast, from where iron
and cotton goods were shipped to South East
Asia. Meanwhile expansive trade continued
with Persia, which became a rage in Europe
2021–22

and was greatly valued among painted cottons. Early in the

seventeenth century, diamonds were discovered, expanding
the source of revenue. The visuals from Golconda draw
one’s attention to the gold jewellery worn by both women
and men. Besides, the themes of Golconda paintings gained
exceptional fame.
Golconda’s art became popular as Dutch merchants
carried the portraits of sultans in the late seventeenth
century to Europe. These were probably done for the bazaar
and had references to royal paintings. The earlier Golconda Dancing before Muhammad
Quli Qutb Shah, Golconda,
paintings, dated 1635–1650, at times as large as eight 1590. British Museum,
feet high, were made to be used as wall hangings. These London, UK
paintings are covered with pictorial designs,
generally, figures in architectural settings of
varied origin.
The earliest five miniatures, identified as
Golconda work, were bound up in Diwan of
Hafiz, dated 1463. These paintings represent
court scenes of a young ruler, who is depicted
seated enthroned, holding a typically long and
straight Deccani sword, in the centre of one of
the painting folios. The Prince is seen wearing
a white coat with embroidered vertical bands.
All five painted pages are lavishly enriched
with gold, touching deep azure sky. Dancing
girls are seen entertaining the royal gathering.
The symmetrical and apparently unfunctional
architecture has several registers of flat
screens one above the other. The ground
appears covered with elaborately patterned
carpets. It is important to note here that the
painting suggests no Mughal influence. Purple
hue is amply applied, and at times, animals
become blue, so you see blue foxes.
There is a portrait of Muhammad Qutb
Shah (1611–1626) as he sits on a diwan
early in his reign. He wears this typical
Golconda dress and an elegant tight-fitting
cap. The composition has gained increased
sophistication and skill, while the strict
symmetry of the 1590 pages is retained.
One may say there is adequate reference to
2021–22

Mughal painting. We see a marked plastic

rendering, especially, in the drape of the
courteseans’ and the groom’s attire.
A manuscript of a Sufi poem with
paraphrased prose is richly illustrated with
more than 20 miniatures. Gold is again
freely used. A peculiar feature seen is the
colouring of the skies in gold and blue in
separate bands. The men’s and women’s
costumes indicate the fashion trend under
Ibrahim II of Bijapur. The trees in the
landscapes are of Deccani type, which are
richly coloured and have a tinted edge.
Moreover, plants are silhouetted against
a mass of dark foliage, which is another
prominent Deccani feature. This is seen in
the painting of a tall woman speaking to
a bird.
Poet in a Garden,
Muhammad Ali, Golconda,
1605–1615, Museum of Exercise
Fine Arts, Boston, USA
1. What are the unique features of Deccani painting of Yogini?
Find out about artists doing similar works nowadays.
2. What were the popular themes painted in the Deccani
School? Describe some of them.
3. Write a note in 100 words on two paintings you like from
the Deccani School.
4. How is the Deccani style of painting different from the
Mughal style of painting?
5. What are the imperial symbols in a Deccani royal painting?
6. Which were the centres of painting in Deccan? Show them
on a map.
2021–22

Composite Horse
The painting is a curious mix of many artistic devices,

which culminate as Composite Horse. The painting includes
human figures intertwined in a manner that emerges as an
extraordinary form of a galloping horse superimposed on
a decorated background. Flying cranes and lions, Chinese
clouds and plants with large leaves enhance the surreal
element of this painting from Golconda, which is of early
seventeenth century. When everything appears to be airy
and flying, the eyes unexpectedly encounter two corners in
the bottom of the painting, which have rocky formulations
that anchor the painting on a solid ground. A certain
dislocation of sense of space happens, making this painting
a memorable visual experience. All actions happen within
limited colour schema, which remains largely in the shades
of brown and some blue.
2021–22

Sultan Ibrahim Adil Shah II hawking

This is a painting of
extraordinary energy and
sensibility. The brilliant
red on the limbs and
tail of the horse, and
the flowing garment
of Sultan Ibrahim Adil
Shah II render a visual
experience, which
remains with one.
Besides, the dark dense
forest foliage, deep olive
green, emerald green and
cobalt blue with cranes
in the background and
sunlit golden blue sky
enhance the experience
of the painting and its
narrative, which brings
the white hawk to the
centrestage along with
the delicately portrayed
face of the sultan. Persian
influence is evident in the
treatment of the horse
and rocks. The plants
and dense landscape in
the foreground are of
native inspiration. The
galloping horse generates
energy, which visually
activates the entire
panoramic landscape.
This painting is in the
collection of the Institute
of the Peoples of Asia,
Academy of Sciences,
Leningrad, Russia.
2021–22

Ragini Pathamsika of Raga Hindola

An intriguing work in the collection
of National Museum, New Delhi,
titled Ragini Pathamsika of Raga
Hindola, an important member of
the Ragamala family of the Indian
musical mode, dates back to
around 1590–95. Some scholars
believe it to be from Bijapur,
an important state of Deccan.
Painting was a highly developed
art form in the Deccani states,
almost simultaneous with the
development of the Mughal School
of Painting. Persian influence is
obvious in the painting. This is
seen in the arabesque decoration
on the surface of the two domes
that delineate the upper part of
the painting, where letters written
in Devanagari script cover the
space. Two beautifully dressed
and bejewelled women are seen
in the pavilion, while the third
is seen outside it. The centrally
placed female musician is playing
an Indian instrument, which appears to be veena, while
the other two on the sides appear to be accompanying with
rhythmic sway of their bodies. The colours are vibrant. Red
is dominant and is complimented by green. The figures may
be said to be stylised in the sense that the character of their
physiology, including the face has been almost constructed
on formulaic details. Nearly all forms are deeply emphasied
with dark line. This is interestingly observable in the mural
paintings of Ajanta, too, which were painted centuries ago.
What is also to be noted here is a dark elephant in the
left hand corner, with a raised trunk, a delightful sign of
welcome. Small in scale, the elephant creates visual interest
and breaks the architectonic structuring.
2021–22

Sultan Abdullah Qutb Shah

An important portrait of Sultan Abdullah Qutb Shah of
Bijapur is in the collection of National Museum, New Delhi,
India. There is an inscription on the top in Persian. Sultan
Abdullah Qutb Shah was an able ruler of the famous Deccani
state of Bijapur, which attracted scholars and artists from
various parts of the world. Here, he is enthroned and we
can see him holding the sword in one hand, symbolising his
political sovereignty. Besides, a halo is seen around his head,
which depicts his divinity.
2021–22

Hazrat Nizamuddin Auliya and

Amir Khusrau
This provincial painting in the collection of National
Museum, New Delhi, is from Hyderabad, Deccan. It depicts
Hazrat Nizamuddin Auliya, the revered Sufi saint of the
thirteenth century, listening to music being played by his
disciple, Hazrat Amir Khusrau, a renowned Indian poet and
scholar. Even to this day, the dargah of Hazrat Nizamudin
Auliya in New Delhi has qawwali by Khusrau in praise of his
pir. Devotees from all over the world come here to witness
this regular cultural practice. The painting is naive and
basic without technical and artistic sophistication of a court
painting. However, it is charming and narrative of a popular
Indian theme.
2021–22

Chand Bibi playing Polo

This painting shows Chand Bibi, the Queen of Bijapur, one
of the most prosperous and culturally refined Deccani state.
Chand Bibi resisted the Mughal political attempts to overtake
the state by Emperor Akbar. A revered and accomplished
ruler, Chand Bibi was a great sportsperson. Here, she is
showing playing chaugan, the other name for equestrian polo
game, a popular royal sport of the time. The painting appears
to be provincial of much later period, and is in the collection
of National Museum, New Delhi, India.
2021–22

The Pahari Schools of Painting 5
P ahari denotes ‘hilly or mountainous’ in origin. Pahari
Schools of Painting includes towns, such as Basohli,
Guler, Kangra, Kullu, Chamba, Mankot, Nurpur, Mandi,
Bilaspur, Jammu and others in the hills of western
Himalayas, which emerged as centres of painting from
seventeenth to nineteenth century. Beginning at Basohli
with a coarsely flamboyant style, it blossomed into the most
exquisite and sophisticated style of Indian painting known as
the Kangra School, through the Guler or pre-Kangra phase.
Unlike the distinguishing stylistic features of Mughal,
Deccani and Rajasthani Schools, Pahari paintings
demonstrate challenges in their territorial classification.
Though all the above centres crafted precisely
individualistic characteristics in painting (through the Krishna steals butter,
Bhagvata Purana, 1750,
depiction of nature, architecture, figural types, facial features, N. C. Mehta Collection,
costumes, preference for particular colours and such other Ahmedabad, Gujarat, India
things), they do not develop as independent
schools with distinctive styles. Paucity of dated
material, colophons and inscriptions also
prevent informed categorisation.
The emergence of the Pahari School
remains unclear, though scholars have
cautiously proposed theories concerning its
beginning and influences. It is widely accepted
that Mughal and Rajasthani styles of paintings
were known in the hills probably through
examples of Provincial Mughal style and family
relationships of hill Rajas with the royal courts
of Rajasthan. However, the flamboyantly bold
Basohli-like style is, generally, understood to
be the earliest prevailing pictorial language.
B. N. Goswamy, one of the most significant
scholars of the Pahari Schools of Painting, has
attributed the shaping of Pahari style from
2021–22
1_5.Pahari Painting.indd 67 01 Sep 2020 02:32:07 PM

the simplicity of Basohli to poetic lyricism and refinement

of Kangra to the ingenuity of a family of artists through his
scholarly approach of family as the basis of style. His central
argument is that the family of Pandit Seu (Shiv) was chiefly
responsible for the course of Pahari paintings. He argues that
identifying Pahari paintings on the basis of regions could be
misleading as political boundaries were always fluid. This
argument is also true for Rajasthani schools as attribution
merely by regions creates vagueness and several disparities
remain unexplained. Hence, if a family of artists is considered
as the style bearer, justification of multiple strands of a style
can be accommodated within the same region and school.
Scholars agree that in the early eighteenth century, the
style of the Seu family and others conformed to the Basohli
idiom. However, from middle of the eighteenth century, the
style transformed through a pre-Kangra phase, maturing
into the Kangra style. This abrupt transformation in style
and beginning of experimentation, which gave rise to
varied stylistic idioms related to different Pahari centres, is
Rama and Sita in the forest,
largely ascribed to responses by various artist families and
Kangra, 1780, Douglas Barrett
Collection, England, UK paintings (especially, the Mughal style) that were introduced
in the Pahari kingdoms. This sudden arrival of
paintings, which might have been introduced
through rulers, artists, traders or any such
agency or event, impacted local artists and
profoundly influenced their painting language.
Most scholars, now, dispute the earlier
hypothesis that the sudden change was caused
and initiated by the migration of artists from
the Mughal atelier.
For Goswamy, it was the naturalism in these
paintings that appealed to the sensibilities of
Pahari artists.
Compositions, worked out from a relative
point of view, show some paintings with
decorated margins. Themes that included
recording the daily routine or important
occasions from the lives of kings, creation of
new prototype for female form and an idealised
face, are all associated with this newly
emerging style that gradually matures to the
Kangra phase.
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Basohli School
The first and most dramatic example of work from the
hill states is from Basohli. From 1678 to 1695, Kirpal
Pal, an enlightened prince, ruled the state. Under him,
Basohli developed a distinctive and magnificent style. It
is characterised by a strong use of primary colours and
warm yellows — filling the background and horizon, stylised
treatment of vegetation and raised white paint for imitating
the representation of pearls in ornaments. However, the
most significant characteristic of Basohli painting is the use
of small, shiny green particles of beetle wings to delineate
jewellery and simulate the effect of emeralds. In their
vibrant palette and elegance, they share the aesthetics of the
Chaurpanchashika group of paintings of Western India.
The most popular theme of Basohli painters was the
Rasamanjari of Bhanu Datta. In 1694–95, Devida, a tarkhan
(carpenter–painter), did a magnificent series for his patron
Kirpal Pal. Bhagvata Purana and Ragamala were other
popular themes. Artists also painted portraits of local kings
Rasamanjari, Basohli, 1720,
with their consorts, courtiers, astrologers, mendicants,
British Museum, London, UK
2021–22

Rama gives away his

possessions, Ayodhya
Kanda, Shangri Ramayana,
1690–1700, Los Angeles
County Museum of Art, USA
courtesans and others. While artist ateliers from Basohli,

gradually, spread to other hill states, such as Chamba and
Kullu, giving rise to local variations of the Basohli kalam.
A new style of painting came in vogue during 1690s to
1730s, which was referred to as the Guler–Kangra phase.
Artists during this period indulged in experimentation and
improvisations that finally resulted and moulded into the
Kangra style.
Hence, originating in Basohli, the style gradually spread
to other hill states of Mankot, Nurpur, Kullu, Mandi,
Bilaspur, Chamba, Guler and Kangra.
The Sanskrit epic, Ramayana, was one of the favourite
texts of the hill artists at Basohli, as well as, Kullu. This
set derives its name from ‘Shangri’, the place of residence
of a branch of the Kullu royal family, patrons and formerly
possessors of this set. These works of Kullu artists were
influenced in varying degrees by the styles of Basohli
and Bilaspur.
Rama learns of his exile and prepares to leave Ayodhya
along with his wife Sita and brother Lakshmana. Maintaining
equanimity of mind, Rama indulges in his last acts of giving
away his possessions. At the request of Rama, his brother
piles up his belongings and the crowd begins to gather to
receive the largesse of their beloved Rama — jewellery,
sacrificial vessels, thousand cows and other treasures.
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Rama and Lakshmana

following sage Vishvamitra
to the forest, Bala Kanda,
Shangri Ramayana
1680–1688, Raja Raghbir
Singh Collection, Shangri,
Kullu Valley, India
Set apart on the left are the two princes with Sita standing
on a carpet with a crowd of recipients moving towards them.
The painter carefully introduces different types — recluses,
Brahmins, courtiers, commoners and servants of the royal
household. The bounteous gifts represented are pile of gold
coins and garments on the carpet, and cows and calves
unaware of the momentous event, beseechingly looking at
Rama with necks stretched, gazes fixed and mouths wide
open. The gravity of the situation is sensitively portrayed
through varying expressions — the serene but gently smiling
Rama, curious Lakshmana, an apprehensive Sita, Brahmins
willing to receive but with no pleasure, and others with
expressions of disbelief and gratitude. Taking pleasure
in achieving fine effects, the artist delightfully depicts
transparency of the garment Rama is holding out, stippled
beard on the cheek and chin of the Brahmins, tilak marks,
jewellery and weapons.
Another painting from the same set depicts Rama and
Lakshmana accompanying sage Vishvamitra to the forest
to defeat the demons, who would distress the hermits by
disturbing their meditative practices and contaminating
their rituals. An interesting feature of this painting is the
representation of animals, stealthily prowling behind trees,
half hidden in the heavy outgrowth. A clever fragmentary
portrayal of a wolf on the left and a tiger on the right by
2021–22

the artist not only lends character to the forest as a thick

impenetrable jungle, populated with ferocious animals
hiding everywhere, but also adds an emotive value to the
painting regarding the extraordinary courage of the two
young princes. The fractional representation of animals adds
mystery to the work as there is a possibility of them being
demons in disguise.
Guler School
The first quarter of the eighteenth century saw a complete
transformation in the Basohli style, initiating the
Guler–Kangra phase. This phase first appeared in Guler, a
high-ranking branch of the Kangra royal family, under the
patronage of Raja Govardhan Chand (1744–1773). Guler
artist Pandit Seu with his sons Manak and Nainsukh are
attributed with changing the course of painting around
1730–40 to a new style, usually, referred to as the pre–Kangra
or Guler–Kangra kalam. This style is more refined, subdued
and elegant compared to the bold vitality of the Basohli style.
Though initiated by Manak, also called Manaku, his brother
Nainsukh, who became the court painter of Raja Balwant
Singh of Jasrota, is responsible for shaping the Guler School
emphatically. The most matured version of this style entered
Kangra during the 1780s, thus, developing into the Kangra
School while the offshoots of Basohli continued in Chamba
and Kullu, India.
Balwant Singh in prayer,

Nainsukh, 1750,
Victoria and Albert Museum,
London, UK
2021–22

Sons and grandsons of Manak and Nainsukh worked

at many other centres and are responsible for the finest
examples of Pahari paintings.
Guler appears to have a long tradition of paintings
amongst all Pahari schools. There is evidence that artists
were working in Haripur–Guler ever since the reign of Dalip
Singh (1695–1743) as many of his and his son Bishan Singh’s
portraits, dating back to earlier than 1730s, i.e., before the
beginning of the Guler–Kangra phase can be found. Bishan
Singh died during the lifetime of his father Dalip Singh.
So, his younger brother Govardhan Chand ascended to the
throne that witnessed a change in painting style.
Manak’s most outstanding work is a set of Gita Govinda
painted in 1730 at Guler, retaining some of the elements of
the Basohli style, most strikingly the lavish use of beetle’s
wing casings.
Nainsukh appears to have left his hometown in Guler and
moved to Jasrota. He is believed to have initially worked for
Mian Zoravar Singh, whose son and successor Balwant Singh
of Jasrota was to become his greatest patron. Nainsukh’s
celebrated pictures of Balwant Singh are unique in the kind
of visual record they offer of the patron’s life. Balwant Singh
is portrayed engaged in various activities — performing puja,
surveying a building site, sitting in a camp wrapped in a quilt
because of the cold weather, and so on. The artist gratified
his patron’s obsession by painting him on every possible
occasion. Nainsukh’s genius was for individual portraiture
that became a salient feature of the later Pahari style.
Krishna embracing gopis,

Gita Govinda, Guler,
1760–1765, N. C. Mehta
Collection, Ahmedabad,
Gujarat, India
2021–22

His palette comprised delicate pastel shades with daring

expanses of white or grey.
Manaku, too, did numerous portraits of his enthusiastic
patron Raja Govardhan Chand and his family. Prakash
Chand, successor of Govardhan Chand, shared his father’s
passion for art and had sons of Manaku and Nainsukh,
Khushala, Fattu and Gaudhu as artists in his court.
Kangra School
Painting in the Kangra region blossomed under the patronage
of a remarkable ruler, Raja Sansar Chand (1775–1823). It
is believed that when Prakash Chand of Guler came under
grave financial crisis and could no longer maintain his atelier,
his master artist, Manaku, and his sons took service under
Sansar Chand of Kangra.
Sansar Chand ascended to the throne at the tender age
of 10 years after the kingdom had been restored to its earlier
glory by his grandfather Ghamand Chand. They belonged to
the Katoch dynasty of rulers, who had been ruling the Kangra
region for a long time until Jahangir conquered their territory
in the seventeenth century and made them his vassals. After
the decline of the Mughal power, Raja Ghamand Chand
recovered most of the territory and founded his capital town
of Tira Sujanpur on the banks of river Beas and constructed
fine monuments. He also maintained an atelier of artists.
Kaliya Mardana, Bhagvata

Purana, Kangra, 1785,
National Museum,
New Delhi, India
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Raja Sansar Chand established supremacy of Kangra

over all surrounding hill states. Tira Sujanpur emerged as
the most prolific centre of painting under his patronage.
An earlier phase of Kangra kalam paintings is witnessed in
Alampur and the most matured paintings were painted at
Nadaun, where Sansar Chand shifted later in his life. All
these centres were on the banks of river Beas. Alampur
along with river Beas can be recognised in some paintings.
Less number of paintings was done in Kangra as it remained
under the Mughals till 1786, and later, the Sikhs.
Sansar Chand’s son Aniruddha Chand (1823–1831),
too, was a generous patron and is often seen painted with
his courtiers.
The Kangra style is by far the most poetic and lyrical
of Indian styles marked with serene beauty and delicacy
of execution. Characteristic features of the Kangra style
are delicacy of line, brilliance of colour and minuteness of
decorative details. Distinctive is the delineation of the female
face, with straight nose in line with the forehead, which came
in vogue around the 1790s is the most distinctive feature of
this style.
Most popular themes that were painted were the Krishna playing Holi with
Bhagvata Purana, Gita Govinda, Nala Damayanti, Bihari gopis, Kangra, 1800, National
Museum, New Delhi, India
Satsai, Ragamala and Baramasa. Many other
paintings comprise a pictorial record of Sansar
Chand and his court. He is shown sitting by
the riverside, listening to music, watching
dancers, presiding over festivals, practising
tent pegging and archery, drilling troops, and
so on and forth. Fattu, Purkhu and Khushala
are important painters of the Kangra style.
During Sansar Chand’s reign, the
production of Kangra School was far greater
than any other hill state. He exercised wide
political power and was able to support a
large studio with artists from Guler and other
areas. The Kangra style soon spread from Tira
Sujanpur to Garhwal in the east and Kashmir in
the west. Painting activity was severely affected
around 1805 when the Gurkhas besieged the
Kangra fort and Sansar Chand had to flee to
his hill palace at Tira Sujanpur. In 1809, with
2021–22

the help of Ranjit Singh, the Gurkhas were driven away.

Though Sansar Chand continued to maintain his atelier of
artists, the work no longer paralleled masterpieces of the
period 1785–1805.
This series of Bhagvata Purana paintings is one of the
greatest achievements of Kangra artists. It is remarkable for
its effortless naturalism, deft and vivid rendering of figures in
unusual poses that crisply portray dramatic scenes. The
principal master is believed to have been a descendent of
Nainsukh, commanding much of his skill.
Re-enacting Krishna’s
deeds, Bhagvata Purana,
Guler–Kangra, India, 1780–85,
Private Collection
This painting is a depiction from Rasa Panchdhyayi, a
group of five chapters from the Bhagvata Purana devoted to
the philosophical concept of Rasa. It has passages that speak
movingly of the love that gopis have for Krishna. Their pain
is real when Krishna suddenly disappears. In their forlorn
state of separation, they appear utterly devastated with the
fruitlessness of search when the deer, trees or creepers,
whom they address in their distracted state, do not have
answers to their piteous questions regarding the whereabouts
of Krishna.
With minds engrossed in thoughts of Krishna, the gopis
recall and enact his various lilas or feats. Some of them
being — the killing of Putana, liberation of Yamala–Arjun
after Krishna was tied to a mortar by Yashoda, lifting of
Mount Govardhan and rescuing the inhabitants of Braj from
the heavy downpour and wrath of Indra, subduing of serpent
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Kaliya, and the intoxicating call and allure of Krishna’s

flute. The gopis take on different roles and emulate his
divine sports.
The artist captures and evokes these sensitive images
exquisitely in this folio. On the extreme left, a gopi enacts
Krishna’s part as she bends forward and appears to suck
the bosom of another gopi, who plays the role of Putana and
raises her hand to the head in response, as if dying while
her breath is being sucked away. Next to them, another
gopi enacts the character of Yashoda, who along with other
gopis, holds out her garment in a gesture of removing the
evil eye after the young Krishna performed the brave feat of
killing Putana.
In the group beside this towards the right, a gopi enacts
the mortar to which another gopi, who plays the role of
young Krishna, is tied with a cloth band, while his mother
admonishingly stands holding a stick in her hands. In the
adjoining group, a gopi, sporting a turban, lifts her piled up
odhni atop in the guise of lifting Mount Govardhan, while
others seek protection underneath. To the extreme left in Abhisarika Nayika, Kangra,
1810–20, Government
the bottom, a gopi enacts Krishna, who is playing flute, as Museum and Art Gallery,
some gopis dance and sing, and others crawl towards him, Chandigarh, India
disentangling themselves from their angry
mothers-in-law, who try to drag and hold them
back from going. In the most magnificent of
these cameos to the extreme bottom in the
right, a gopi hurls a blue garment edged with
gold over the ground, which takes the form
of the multiple hooded serpent Kaliya, upon
whom she dances like Krishna.
Depiction of Ashta Nayikas or eight
heroines is one of the most painted themes
in Pahari paintings, involving the depiction of
women in various dispositions and emotive
states. To mention a few — Utka is the one
who is anticipating the arrival of her beloved
and patiently waits for him, Svandhinpatika is
the one whose husband is subject to her will,
Vasaksajja awaits her beloved’s return from a
voyage and decorates the bed with flowers in
a welcoming gesture, and Kalahantarita is the
one who resists her beloved when he seeks to
soften her pride and repents when he comes late.
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Even though describing Ashta Nayikas

remained a favourite among poets and
painters, none of them is treated with as much
flair as the Abhisarika, one who hastens to
meet her beloved braving all hazards. The
situation conceived is, generally, full of bizarre
and dramatic possibilities with the passion
and steadfastness of the nayika, triumphing
against the opposing elements of nature.
In this painting, the sakhi is recounting
how the nayika crossed the woods in the
night to meet her beloved. The yoga, the poet
speaks of, refers to the single-mindedness
of purpose with which the nayika moves
through the dark forest in the night.
The broad iconography of the Abhisarika
remains much the same. However, at times,
painters vary their renderings in some measure.
The ghouls that, usually, appear in many
versions are omitted here. But the darkness of
A couple in the month
of Jyestha, Kangra, the night, flashes of lighting, murky clouds, snakes hissing
1800, National Museum, about in the dark, emerging from hollows of the trees and
New Delhi, India
falling jewellery are all painted.
The Baramasa paintings, consisting of 12 folios,
illustrating the modes of love or courtship appropriate to
each month of the year had become a popular theme in the
hills during the nineteenth century.
An account of Baramasa is given by Keshav Das in the
tenth chapter of Kavipriya. He, thus, describes the hot month
of Jyeshtha, which falls in the months of May and June. The
painter takes utmost delight in depicting all analogues as
described by the poet.
The Kangra School came to fore in the 1780s while the
offshoots of the Basohli style emerged and continued in
centres such as Chamba, Kullu, Nurpur, Mankot, Jasrota,
Mandi, Bilaspur, Jammu and others with some of their
specific characteristics. In Kashmir (1846–1885), the Kangra
style initiated a local school of Hindu book illumination. The
Sikhs employed other Kangra painters eventually.
There is a broad classification of three styles — Basohli,
Guler and Kangra, and scholars may have variant terms for
the same. However, these are indicative centres from where
the style travels elsewhere. Hence, in Jasrota, as one observes
the Guler style, it becomes categorised under the Guler
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School with Jasrota as one of its centres. Briefly mentioning

the aspects of the other centres, one finds portraits of the
rulers of Chamba in the seventeenth and early eighteenth
century in the Basohli style.
Kullu emerged with a distinctive style, where figures
had a prominent chin and wide open eyes, and lavish use
of grey and terracotta red colours in the background was
made. Shangri Ramayana is a well-known set painted in the
Kullu Valley in the last quarter of the seventeenth century.
Paintings of this set vary from each other in style, and, thus it
is believed that these were painted by different sets of artists.
It is believed that when the Basohli style had outgrown itself
and matured into the Kangra style, Nurpur artists retained
the vibrant colours of Basohli with the dainty figure types
of Kangra.
Due to marital relations between Basohli and Mankot, few
artists from Basohli seem to have shifted to Mankot, thereby,
developing a similar school of painting. While Jasrota had
an indulgent patron in Balwant Singh and the school is
well-known through his numerous portraits painted by his
court artist, Nainsukh, who led the earlier simple Basohli
style to new sophistication. This style of Nainsukh is also
referred to as the Guler–Kangra style.
Rulers of Mandi were ardent worshippers of Vishnu and
Shiva. Hence, apart from the Krishna Lila themes, Shaivite
subjects were also painted. An artist named Molaram is
associated with the Garhwal School. Several signed paintings
by him have been discovered. This school was influenced by
the Kangra style of Sansar Chand phase.
Exercise
1. Representation of nature in Pahari miniature paintings
is found everywhere. According to you, what could be the
reasons for this?
2. What are the major schools of Pahari miniature paintings
and list their places of expansion. How were they different
from each other? Mark all schools of Himalayan (Pahari)
paintings on a map.
3. Select a poem or a story and illustrate in it any style of
Pahari miniature painting.
4. Prepare small critiques on works of the following.
(a) Nainsukh (b) Basohali paintings
(c) Ashta Nayikas (d) Kangra kalam
2021–22

2021–22

Awaiting Krishna and the Hesitant Radha

Artist Pandit Seu had two talented sons, Manak or Manaku
and Nainsukh. Their contribution in maneuvering the style of
Pahari painting from the stage of Basohli to that of Kangra is
immense. Their sons, in turn, represent the glorious period of
Kangra. This painting is categorised in the Guler–Kangra phase,
wherein, experimentation for change had already been initiated.
Gita Govinda is Manaku’s most outstanding set of works. As
mentioned earlier, composed by Jayadeva, Gita Govinda begins
with the description of how Radha and Krishna fall in love on
the banks of river Yamuna. A delightful description of spring
follows and the poet describes the sports of Krishna with other
gopis. Ignored by Krishna, heartbroken Radha sulks in a bower
as her friend, sakhi, describes how Krishna continues to wander
with the pretty cowherd girls. After sometime, Krishna feels
remorseful and starts looking for Radha, and on not finding her,
laments for her. The messenger, now, goes to Radha and tells
her of the longing of Krishna for her. Ultimately, she persuades
her to meet him and what follows is the mystic union. Though
the characters are divine and enact the play at a philosophical
plane, where Radha is a devotee or soul, and Krishna, the
cosmic power, in whom she is to be drowned. The love sport
played here is rather human.
In this painting, Radha is shown feeling shy and hesitant as
she approaches the forested area, while Krishna is seen eagerly
waiting for her.
The source to the artist’s imagination is the inscription on
the reverse of the painting, which is translated as follows.
“Radha! Sakhis have come to know the secret that your soul
is intent on the warfare of love. Now, abandon your shyness, let
your girdle tinkle merrily and go ahead to meet your beloved.
Radha! Lead yourself with some favoured maid; grasp her hands
with your fingers that are soft and smooth as love’s arrows.
March and let the jingle of your bangles proclaim your approach
to your loved one.”
This beautiful song of Jayadeva may always rest upon the
lips of the devotees of Krishna.
Ultimately Radha accepts the advice of her companions and
Jayadeva, thus, describes the following.
“Then, she, no more delaying, entered straight; her step a
little faltered, but her face shone with unutterable love; the
music of her bangles passed the entrance; shame which had
lingered in her downcast eyes, departed shamed…”
2021–22

Balwant Singh looking at a Painting

with Nainsukh
The painting depicts Prince Balwant Singh of Jasrota closely
observing a painting that he is holding in his hands. A
figure standing behind him politely bowing down probably
represents none other than the artist of the painting,
Nainsukh. This painting is probably a rare, where Nainsukh
paints himself with his patron.
Balwant Singh is seated in his palace, overlooking
the lush green landscape teeming with trees. The time
depicted appears to be that of early evening and Nainsukh’s
clutter-free composition is itself indicative of quietude,
peace and tranquillity that are suggestive of Balwant
Singh’s temperament in the painting. He is smoking hukka,
something that, he usually, indulged in during spells of
break between work. Musicians are deftly placed towards the
outer edge of the painting so as to indicate their presence.
Their positioning, in the painting, suggests that they are not
clamouring to be heard but ‘softly’ producing music, thus,
enhancing the calmness, while Balwant Singh remains
engrossed in the details of the painting that depicts Krishna.
2021–22

Nanda, Yashoda and Krishna

This painting also illustrates a scene from the Bhagvata
Purana and depicts Nanda with his family and relatives,
travelling to Vrindavan. They found Gokul infested with
demons that bothered Krishna to no end, and hence,
decided to move to a safer place. In the painting, Nanda is
seen leading the group on his bullock cart and is followed by
another bullock cart, wherein, both brothers, Krishna and
Balaram and their respective mothers, Yashoda and Rohini,
are seated. Men and women carrying various household
items and children are seen accompanying them. Detailing
in their expressions, the activities they are indulging in
are intriguing. The tilt of their heads as they talk to each
other, an expression of fatigue expressed with downcast
eyes because of the heaviness of load on the head and the
taut stretching of arms as one firmly holds on to the vessel
on the head are all examples of amazing observation and
excellent skill.
Kangra painters, as discussed in the earlier part of
the chapter, acutely observe the landscape and represent
it naturalistically. The details are eloquently expressed.
One also observes a flush-cut composition, resembling a
photograph, which lends naturalism to the painting.
2021–22

2021–22

The Bengal School and Cultural
Nationalism 6
Company Painting
A rt in India had a different purpose prior to the coming of

the British. It could be seen as statues on temple walls,
miniature paintings that often illustrated manuscripts,
decoration on the walls of mud houses in villages, among
many other examples. With the colonial rule around the
eighteenth century, the English were charmed by different
manners and customs of people of all ranks, tropical flora
and fauna, and varying locales. Partly for documentation
and partly for artistic reasons, many English officers
commissioned local artists to paint scenes around them to
get a better idea of the natives. The paintings were largely Ghulam Ali Khan,
made on paper by local artists, some of whom had migrated Group of Courtesans,
Company Painting, 1800–1825.
from erstwhile courts of Murshidabad, Lucknow or Delhi. To San Diego Museum of Art,
please their new patrons, they had to adapt their traditional California, USA
way of painting to document
the world around them. This
meant that they had to rely
more on close observation,
a striking feature of the
European art, rather than
memory and rule books, as
seen in traditional art. It is
this mixture of traditional and
European style of painting
that came to be known as the
Company School of Painting.
This style was not only popular
among the British in India but
even in Britain, where albums,
consisting a set of paintings
were much in demand.
2021–22
1_6.Bengali Painting.indd 85 01 Sep 2020 03:54:46 PM

Raja Ravi Varma

This style declined with the entry of photography
in India in the mid–nineteenth century as camera
offered a better way of documentation. What,
however, flourished in the art schools set up by
the British was the academic style of oil painting
that used a European medium to depict Indian
subject matter. The most successful examples
of this type of painting were found away from
these art schools. They are best seen in the
works produced by self-taught artist, Raja Ravi
Varma of the Travancore Court in Kerala. By
imitating copies of European paintings popular
in Indian palaces, he mastered the style of
academic realism and used it to depict scenes
from popular epics like the Ramayana and
Mahabharata. They became so popular that
many of his paintings were copied as oleographs
Raja Ravi Varma, and were sold in market. They even entered people’s homes as
Krishna as envoy,
1906. NGMA, New Delhi, India
calendar images. With the rise of nationalism in India by the
end of the nineteenth century, this academic style embraced
by Raja Ravi Varma came to be looked down upon as foreign
and too western to show Indian myths and history. It is
amidst such nationalist thinking that the Bengal School of Art
emerged in the first decade of the twentieth century.
The Bengal School

The term ‘Bengal School of Art’ is not fully accurate. It is true
that the first move to create a modern, nationalist school
happened in Bengal but it was not restricted to this region
alone. It was an art movement and a style of painting that
originated in Calcutta, the centre of British power, but later
influenced many artists in different parts of the country,
including Shantiniketan, where India’s first national art
school was founded. It was associated with the nationalist
movement (Swadeshi) and spearheaded by Abanindranath
Tagore (1871–1951). Abanindranath enjoyed the support of
British administrator and principal of the Calcutta School
of Art, E. B. Havell (1861–1934). Both Abanindranath and
Havell were critical of colonial Art Schools and the manner in
which European taste in art was being imposed on Indians.
They firmly believed in creating a new type of painting that
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The Bengal School and Cultural Nationalism 87
was Indian not only in subject matter but also in style. For
them, Mughal and Pahari miniatures, for example, were
more important sources of inspiration, rather than either the
Company School of Painting or academic style taught in the
colonial Art Schools.
Abanindranath Tagore and E. B. Havell

The year 1896 was important in the Indian history of visual
arts. E. B. Havell and Abanindranath Tagore saw a need to
Indianise art education in the country. This began in the
Government Art School, Calcutta, now, Government College
of Art and Craft, Kolkata. Similar art schools were established
in Lahore, Bombay and Madras but their primary focus was
on crafts like metalwork, furniture and curios. However,
the one in Calcutta was more inclined towards fine arts.
Havell and Abanindranath Tagore designed a curriculum
to include and encourage technique and themes in Indian
art traditions. Abanindranath’s Journey’s End shows the
influence of Mughal and Pahari miniatures, and his desire to
create an Indian style in painting.
Art historian Partha Mitter writes, “The first generation of
the students of Abanindranath engaged in recovering the lost
language of Indian art.” To create awareness that modern
Indians could benefit from this rich past, Abanindranath
was the main artist and creator of an important journal,
Indian Society of Oriental Art. In this manner, he was also
the first major supporter of Swadeshi values in Indian art,
which best manifested in the creation of Bengal School of
Art. This school set the stage for the development of modern
Indian painting. The new direction opened by Abanindranath
was followed by many younger artists like Kshitindranath
Majumdar (Rasa-Lila) and M. R. Chughtai (Radhika).
Shantiniketan — Early modernism

Nandalal Bose, a student of Abanindranath Tagore, was
invited by poet and philosopher Rabindranath Tagore to
head the painting department in the newly established
Kala Bhavana. Kala Bhavana was India’s first national art
school. It was part of the Visva-Bharati University founded
by Rabindranath Tagore at Shantiniketan. At Kala Bhavana,
Nandalal founded the intellectual and artistic milieu to create
an Indian style in art. By paying attention to the folk art forms
that he saw around in Shantiniketan, he began to focus on
2021–22

the language of art. He also illustrated primers

in Bengali with woodcuts and understood
the role of art in teaching new ideas. For this
reason, Mahatma Gandhi invited him to paint
panels that were put on display at the Congress
session at Haripura in 1937. Famously called
the ‘Haripura Posters’, they depicted ordinary
rural folks busy in various activities — a
musician drumming, a farmer tilling, a woman
churning milk, and so on. They were painted
as lively colourful sketchy figures and shown
as contributing their labour to nation building.
These posters echoed with Gandhi’s socialist
vision of including marginalised sections of
Indian society through art.
Kala Bhavana, the institution where Bose
taught art, inspired many young artists to
Nandalal Bose, Dhaki, Haripura Posters,
1937. NGMA, New Delhi, India carry forward this nationalist vision. It became
a training ground for many artists, who
taught art in different parts of the country.
K. Venkatappa in South India being a
prominent example. They wanted art to reach
out to a wider public rather than only the elite,
anglicised class of people.
Jamini Roy is a unique example of modern
Indian artist, who after undergoing academic
training in the colonial Art School rejected
it only to adopt the flat and colourful style of
folk painting seen in villages. He wanted his
paintings to be simple and easy to duplicate
to reach a wider public and based on themes
like women and children, specifically, and rural
life, generally.
However, the struggle between the Indian
and European taste in art continued as seen in
the art policy of the British Raj. For example,
the project for mural decorations for Lutyen’s
Delhi buildings went to the students of Bombay
School of Art, trained in realistic studies by its
Principal, Gladstone Solomon. On the other
hand, the Bengal School artists were allowed
K. Venkatappa, Rama’s marriage, to decorate the Indian House in London under
1914. Private Collection, India close British supervision.
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Pan-Asianism and Modernism

The colonial art policy had created a divide between those
who liked the European academic style and those who favoured
Indian style. But following the Partition of Bengal in 1905, the
Swadeshi movement was at its peak and it reflected in ideas
about art. Ananda Coomaraswamy, an important art historian,
wrote about Swadeshi in art and joined hands with a Japanese
nationalist, Kakuzo Okakura, who was visiting Rabindranath
Tagore in Calcutta. He came to India with his ideas about
pan-Asianism, by which he wanted to unite India with other
eastern nations and fight against western imperialism. Two
Japanese artists accompanied him to Calcutta, who went to
Shantiniketan to teach wash technique of painting to Indian
students as an alternative to western oil painting.
If, on one hand, pan-Asianism was gaining popularity,
ideas about modern European art also travelled to India.
Hence, the year 1922 may be regarded as a remarkable
one, when an important exhibition of works by Paul Klee,
Kandinsky and other artists, who were part of the Bauhaus
School in Germany, travelled to Calcutta. These European
artists had rejected academic realism, which appealed to the
Swadeshi artists. They created a more abstract language of
art, consisting of squares, circles, lines and colour patches.
For the first time, Indian artists and the public had a direct
encounter with modern art of this kind. It is in the paintings
by Gaganendranath Tagore, brother of Abanindranath
Tagore, that the influence of modern western style of
paintings can be clearly seen. He made several paintings
using Cubist style, in which building interiors were created
out of geometric patterns. Besides, he was deeply interested
in making caricatures, in which he often made fun of rich
Bengalis blindly following the European style of living.
Different Concepts of Modernism: Western and Indian

The divide between anglicists and orientalists, as mentioned
earlier, was not based on race. Take the case of the Bengali
intellectual, Benoy Sarkar, who sided with the anglicists
and considered modernism that was growing in Europe as
authentic in an article, ‘The Futurism of Young Asia’. For
him, the Oriental Bengal School of Art was regressive and
anti-modern. On the other hand, it was E. B. Havell, an
Englishman, who was in favour of return to native art to
2021–22

create a true modern Indian art. It is in this

context that we have to view his collaboration
with Abanindranath Tagore.
Amrita Sher-Gil, whom we will discuss in
the next chapter, is a perfect example of the
meeting of both these points of view. She used
the kind of style that the Bauhaus exhibition
showed to depict Indian scenes.
Modern art in India can be best understood
as a result of the conflict between colonialism
and nationalism. Colonialism introduced new
institutions of art like art schools, exhibition
galleries, art magazines and art societies.
Nationalist artists, while accepting these
changes, continued to assert more Indian taste
in art and even accepted a larger Asian identity
for a while. This legacy was going to leave a
deep impact on the later history of modern
Indian art. Therefore, it will keep moving from
internationalism, i.e., draw ideas from the West,
Amrita Sher-Gil, Camels, 1941.
NGMA, New Delhi, India and indigenous, i.e., to be true to one’s own
legacy and tradition.
Exercise
1. Collect a local newspaper of the past two weeks. Select
images and text from these that you consider important
in the life of modern democratic state of India. With the
help of these visuals and texts, compile an album that
narrates the story of an independent sovereign India in the
contemporary world.
2. Comment on the importance of the Bengal School artists in
the making of a national style of art?
3. Write your view on any one painting by Abanindranath
Tagore.
4. Which art traditions of India inspired the Bengal School
artists?
5. What were the themes that Jamini Roy painted after he
abandoned the academic style of painting?
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Tiller of the Soil

This is one of the panels made by Nandalal Bose in 1938
for the Haripura Congress. In this panel, a farmer is shown
ploughing a field — the daily activity of a common man and in
a village. To capture the essence of village life in his Haripura
panels, Bose made pen-and-ink brush studies of local
villagers. He used thick tempera in a bold cursory style and
broad brushwork. This technique and style was reminiscent
of the folk art practice of patuas or scroll painters. Folk
style is purposely used to represent the rural life. It also
conveys political statement of Gandhi’s idea of village. The
background of the poster has an arch. The strong senses of
formal design, bold colour scheme, and their blend of nature
and convention in this panel reflect Bose’s inspiration from
Ajanta wall paintings and sculptures. More than 400 posters
were prepared at Kala Bhavana under the supervision of Bose,
who was influenced by the idea of Gandhi. These posters
place common people in the centre of nation building. Bose
utilised art to build the nation’s moral character.
2021–22

Rasa-Lila
This is a watercolour painting in wash technique portraying
the divine life of Sri Krishna made by Kshitindranath
Majumdar (1891–1975). He was one of the early students
of Abanindranath Tagore, who carried forward the wash
tradition with some deviations. Rustic, thin, slender figures,
modest gestures, idyllic settings and delicate watercolours
express his stylistic features. He has painted mythological
and religious subjects. Man Bhanjan of Radha, Sakhi
and Radha, Lakshmi and Birth of Sri Chaitanya are few
examples of his extraordinary power of expression inspired
by his understanding of religious concepts as a follower of
the Bhakti Marga. In this painting, Krishna is dancing with
Radha and sakhis, and the background of trees creates a
simple village atmosphere as illustrated in the Bhagvata
Purana and Gita Govinda. Figures and their cloths are drawn
with simple, flowing, delicate lines. The sublime moods of
characters are captured well. Krishna and gopis are drawn
with same proportion. Thus, humans and God are brought
on the same level.
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Radhika
This is a wash and tempera painting made on paper by
Abdul Rehman Chughtai (1899 –1975). He was a descendant
of Ustad Ahmed, the chief architect of Shahjahan. He was
also the designer of the Jama Masjid and Red Fort in Delhi
and Taj Mahal in Agra. He was influenced by Abanindranath
Tagore, Gaganendranath Tagore and Nandalal Bose.
Chughtai experimented with wash technique and infused
a distinct character of calligraphic line, typical in Mughal
manuscripts and old Persian paintings. It gives a deeper
sensuous quality to his paintings. In this painting, Radhika
is portrayed walking away from a lighted lamp in a gloomy
background as if in a state of trance or remorse. The subject
is based on Hindu mythology. He also painted characters
from legends, folklore and history of the Indo-Islamic, Rajput
and Mughal world. The light and shade of the background
represent the finest heights of simplification. Chughtai had
stylistic affinities with renowned Chinese and Japanese
masters. The character is drawn gracefully, with a lyrical
quality of calligraphy in every line. It is as if a poem finds
visual form. Other works, which carry these poetic qualities,
are Gloomy Radhika, Omar Khayyam, Dream, Hiraman Tota,
Lady under a Tree, Musician Lady, Man behind a Tomb, Lady
beside a Grave and Lady lighting a Lamp.
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City in the Night

This is a watercolour painting made by
Gaganendranath Tagore (1869 –1938)
in 1922. He was one of the earlier Indian
painters, who made use of language and
syntax of Cubism to render his ideas.
The inner experiences of turbulence
are externalised through a blend of
allegorical and formal, transforming
the static geometry of Analytical
Cubism into an expressive apparatus.
He softened Cubism’s formal geometry
with a seductive profile, shadow or
outline of human form. He visualised
the mysterious world of his imaginary
cities like Dwarka (Lord Krishna’s
legendary abode) or Swarnapuri
(The Golden City) through multiple
viewpoints, multi-faceted shapes and
jagged edges of Cubism. He painted an
interplay of diamond-shaped planes
and prismatic colours, resulting in
fragmented luminosity to render the
mountain ranges of the city. Zigzag
planes together are able to create a tight
formal structure of the painting. The
painting is mysteriously illuminated by artificial light, one
of the features of theatre. It shows his involvement with his
uncle Rabindranath Tagore’s play staged in their house. The
painter has taken many references of stage props, partition
screens, overlapping planes and artificial stage lighting.
Endless corridors, pillars, halls, half-open doors, screens,
illuminated windows, staircases and vaults are painted on
the same plane to conjure a magic world.
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Rama Vanquishing the Pride of

the Ocean
This is a Puranic (ancient mythological

stories) theme painted by Raja Ravi
Varma. He was one of the first Indian
painters to use oil paint and master
the art of lithographic reproduction for
mythological subject. These paintings
are, generally, large ones, depicting a
historic moment or scene from an epic
or a classical text, painted in the midst
of a dramatic action. It is intended to be
noble, momentous and emotional. This
scene is taken from Valmiki Ramayana,
where Rama needs to build a bridge in
southern India to the island of Lanka for
his army to cross the ocean. He prays
to the God of Ocean, Varuna, to permit
him to cross the ocean but Varuna does
not respond. Then, in anger, Rama
stands to shoot his fiery arrow into the
ocean. Immediately, Varuna appears
and appeases Rama. The event depicted
in this painting sequentially serves as a
springboard for the next one. The story
unfolds itself as each painting leaps
to the succeeding one, covering in the process not only the
major moments in the lives of Rama and Sita but the entire
epic. Varma also painted Release of Ahalya, Rama Breaking
the Sacred Bow of Siva before his Marriage to Sita, Rama, Sita
and Laksmana Crossing the Saryu, Ravana abducting Sita
and Opposed by Jatayu, Sita in Ashoka Grove, The Coronation
of Rama, etc.
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Woman with Child

This is a gouache painting on paper made by
Jamini Roy (1887–1972) in 1940. He was called
the father of the folk renaissance in India, who
created an alternative vision of modern Indian
identity. In the mid –1920s, he travelled to the
countryside of Bengal to collect folk paintings
(pats) and learn from folk artisans. He wanted
to learn from the expressive power of their
lines. In this painting, a mother and her child
are rendered with bold simplifications and
thick outlines with sweeping brush strokes.
The painting exudes a crude vigour hitherto
unknown in Indian art. Figures are coloured
in dull yellow and brick-red background,
emulating the terracotta relief of his home
village in Bankura. The two-dimensional nature
of the painting is derived from pat paintings
and his search for simplicity and pure form
is visible. Roy borrowed volume, rhythm,
decorative clarity and instrumentality of the pat
in his artworks. To achieve and learn the purity
of the pat, he first made many monochrome
brush drawings, and then, gradually, moved to
basic seven colours applied with tempera. He
used Indian red, yellow ocher, cadmium green,
vermilion, charcoal gray, cobalt blue and white
made from organic material, such as rockdust,
tamarind seeds, mercury powder, alluvial mud,
indigo and common chalk. He used lamp black
to outline the drawings and started making his own canvas
with home-spun fabric (pats used paper or cloth or baked
paper). Roy used the notion of village community as a weapon
of resistance to colonial rule and a political act of making
local signify national.
2021–22

Journey’s End
Made by Abanindranath Tagore (1871–1951) in 1913, this
painting is in watercolour. Abanindranath Tagore was seen
as a father figure of nationalist and modernism of art in India.
He revived certain aspects of Indian and oriental traditions
of paintings in terms of themes, style and techniques, and
invented the wash painting technique. The wash technique
yields a soft, misty and impressionistic landscape. This
quality of hazy and atmospheric effects of the wash are
utilised to be suggestive or evocative of an end of a life.
In this painting, a collapsed camel is shown in red
background of dusk and in that sense it personifies the end
of a journey through the end of a day. Abanindranath tried to
capture the portrait and narration with the help of symbolic
aesthetics on one hand and literary allusions on the other.
The physical features of the camel rendered appropriately in
fine lines and delicate tones, and its sensory texture leads
us to the meaning of the painting. Abanindranath has also
painted The Forest, Coming of Night, Mountain Traveller,
Queen of the Forest and a series of 45 paintings based on
The Arabian Nights.
2021–22

2021–22

The Modern Indian Art 7
Introduction to Modernism in India
F ine arts was seen as European by the British. They felt

that Indians lacked training and sensibility to be able to
create and appreciate fine arts. By mid and late nineteenth
century, art schools were established in major cities like
Lahore, Calcutta (now, Kolkata), Bombay (now, Mumbai) and
Madras (now, Chennai). These art schools tended to promote
traditional Indian crafts, and academic and naturalist art
that reflected Victorian tastes. Even the Indian crafts, which
received support, were the ones based on European taste
Gaganendranath Tagore, A
and on the demands made by its market. Cubist City, 1925. Victoria
As mentioned in the previous chapter, it was against Memorial Hall, Kolkata, India
this colonial bias that nationalist art emerged,
and the Bengal School of Art, as nurtured by
Abanindranath Tagore and E. B. Havell, was
a prime example. India’s first nationalist art
school, Kala Bhavana, was set up in 1919 as
part of the newly established Visva-Bharati
University in Shantiniketan, conceptualised by
poet Rabindranath Tagore. It carried the vision
of the Bengal School but also followed its own
path in creating art meaningful for Indians.
This was the time when the whole world was
in a state of intense political turmoil in the
wake of World War–I. Apart from the famous
Bauhaus exhibition that travelled to Calcutta,
as discussed in the previous chapter, modern
European art influenced Indian artists through
art magazines that were in circulation. Artists
from the Tagore family — Gaganendranath
and poet–painter Rabindranath, thus, knew
about the international trends of Cubism and
Expressionism, which had rejected academic
2021–22
1_7.Modern Art Painting.indd 99 01 Sep 2020 03:26:04 PM

realism and experimented with abstraction;

They thought that art need not copy the world
but create its own world out of forms, lines and
colour patches. A landscape, portrait or still life
may be called abstract if it draws our attention
to an abstract design created by forms, lines
and colour patches.
Gaganendranath Tagore used the language
of Cubism to create a unique style of his own.
His paintings of mysterious halls and rooms
were made with vertical, horizontal and
diagonal lines, which were quite different from
the Cubist style of famous artist Pablo Picasso,
who invented the style using geometrical facets.
Rabindranath Tagore turned to visual
art quite late in life. While writing poems, he
would often make patterns out of doodles and
developed a unique, calligraphic style out of
crossed out words. Some of these were turned
Rabindranath Tagore, into human faces and landscapes, which floated captivatingly
Doodle, 1920. Visva-Bharati
University, Shantiniketan, in his poems. His palette was limited with black, yellow
West Bengal, India ochre, reds and browns. However, Rabindranath created a
small visual world that was a complete departure from the
more elegant and delicate style of the Bengal School, which
often drew inspiration from Mughal and Pahari miniatures
along with Ajanta frescoes.
Nandalal Bose in 1921–1922 joined the Kala Bhavana.
His training under Abanindranath Tagore made him familiar
with nationalism in art but it did not hinder him from allowing
his students and other teachers to explore new avenues of
artistic expression.
Benode Behari Mukherjee and Ramkinker Baij, Bose’s
most creative students, gave a lot of thought as how to
understand the world. They developed their own unique style
of sketching and painting that could capture not only their
immediate environment like flora and fauna but also those
who lived there. Shantiniketan had a large population of
Santhal tribe at its outskirts, and these artists often painted
them and made sculptures based on them. Apart from this,
themes from literary sources also interested them.
2021–22

Rather than making paintings around

well-known epics like Ramayana and
Mahabharata, Benode Behari Mukherjee was
drawn to the lives of medieval saints. On the
walls of Hindi Bhavana in Shantiniketan, he
made a mural called Medieval Saints, in which
he charts a history of medieval India through
the lives of Tulsi Das, Kabir and others, and
focuses on their humane teachings.
Ramkinkar Baij was an artist given to
the celebration of nature. His art reflects his
everyday experiences. Almost all his sculptures
and paintings are created as response to his
environment. For instance, his Santhal Family,
made as an outdoor sculpture within the Kala
Bhavana compound, turned the daily activity
of a Santhal family setting out for work into a
larger than a life size piece of art. Besides, it
was made out of modern material like cement
mixed with pebbles, held in shape with the
help of metal armature. His style was in sharp
contrast with works of earlier sculptor like D.
P. Roy Choudhury, who had used academic
realism to celebrate the labour of working classes, The Jamini Roy, Black Horse,
Triumph of Labour. 1940. NGMA, New Delhi, India
If rural community was important for Benode Behari

Mukherjee and Ramkinker Baij, Jamini Roy, too, made
his art relevant to this context. We had briefly discussed
Roy in the last chapter as an artist, who rejected his own
training received at the Government School of Art, Calcutta.
Being a student of Abanindranath Tagore, he realised the
futility of pursuing academic art. He noticed that the rural,
folk art in Bengal had much in common with how modern
European masters like Picasso and Paul Klee painted. After
all, Picasso had arrived at Cubism by learning from the use
of bold forms found in African masks. Roy, too, used simple
and pure colours. Like village artists, he also made his own
colours from vegetables and minerals. His art lent itself to
easy reproduction by other members in his family, quite like
the artisanal practice followed in villages. However, what
differentiated his art from that of village artists was that
2021–22

Roy signed on his paintings. His style is seen as uniquely

personal, distinct from both the academic naturalism of art
schools and from Raja Ravi Varma’s Indianised naturalism,
as well as, from the delicate style practised by some of the
Bengal School artists.
Amrita Sher-Gil (1913–1941), half Hungarian and half
Indian, emerges as a unique female artist, who contributed
immensely to modern Indian art through the 1930s. Unlike
others, she was trained in Paris and had a first-hand
experience in European modern art trends, such as
Impressionism and post–Impressionism. After deciding to
make India her base, she worked to develop art with Indian
themes and images. Amrita Sher-Gil assimilated miniature
and mural traditions of Indian art with European modernism.
She died young, leaving behind a remarkable body of work,
which is important for its experimental spirit and the impact
it left on the next generation of Indian modernists.
Modern Ideologies and Political Art in India

Soon after Sher-Gil’s death, India, still under British rule,
was deeply affected by global events like World War–II. One
Prodosh Das Gupta,
Twins Bronze, of the indirect outcomes was the outbreak of the Bengal
1973. NGMA, New Delhi, India famine, which ravaged the region forcing massive rural
migration to cities.
The humanitarian crisis compelled many
artists to reflect on their role in society. In 1943,
under the leadership of Prodosh Das Gupta, a
sculptor, few young artists formed the Calcutta
Group, which included Nirode Mazumdar,
Paritosh Sen, Gopal Ghose and Rathin Moitra.
The group believed in an art that was universal
in character and free from older values. They
did not like the Bengal School of Art as it
was too sentimental and deeply interested
in the past. They wanted their paintings and
sculptures to speak of their own times.
They started to simplify their visual
expression by excluding details. With such an
attempt, they could emphasise on elements,
material, surface, forms, colours, shades
and textures, etc. A comparison may be
2021–22

drawn against a sculptor from South India,

P. V. Janakiram (Ganesh) who worked with
metal sheets in a creative way.
Seeing abject poverty around them and
the plight of people in villages and cities,
many young artists in Calcutta were drawn to
socialism, especially Marxism. This modern
philosophy, which was taught by Karl Marx in
the mid–nineteenth century in the West, asked
important questions about class difference
in society and appealed to these artists. They
wanted their art to talk about these social
problems. Chittoprasad and Somnath Hore,
the two political artists of India, found
Chittoprasad, Hungry Bengal,
printmaking to be a strong medium to express these social 1943. Delhi Art Gallery,
concerns. With printmaking, it is easier to produce multiple New Delhi, India
number of artworks and reach out to more number of people.
Chittoprasad’s etchings, linocuts and lithographs showed M. F. Husain,
the deplorable condition of the poor. It is not surprising that Farmer’s Family,
he was asked by the Communist Party of India to travel to 1940. NGMA, New Delhi, India
villages worst affected by the Bengal Famine

and make sketches. These were later published
as pamphlets under the name, Hungry Bengal,
much to the annoyance of the British.
The Progressive Artists’ Group of Bombay and

the Multifaceted Indian Art
The desire for freedom — political, as well as,
artistic — soon spread widely among young
artists, who witnessed Independence from the
British Raj. In Bombay, another set of artists
formed a group, called The Progressives in
1946. Francis Newton Souza was the outspoken
leader of the group, which included M. F.
Husain, K. H. Ara, S. A. Bakre, H. A. Gade and
S. H. Raza. Souza wanted to question the
conventions that had prevailed in art schools.
For him, modern art stood for a new freedom
that could challenge the traditional sense of
beauty and morality. However, his experimental
works were focused mainly on women, whom
2021–22

he painted as nudes, exaggerating their proportions and

breaking the standard notions of beauty.
M. F. Husain, on the other hand, wanted to make the
modern style of painting understandable in Indian context.
For example, he would paint using the western expressionist
brush strokes with bright Indian colours. He not only drew
from Indian mythology and religious sources but also from the
style of miniature paintings, village crafts and even folk toys.
As a result of successfully combining a modern style of
painting with Indian themes, Husain’s art came to eventually
represent Indian modern art in the international art world.
Mother Teresa is an example to understand how he adapted
modern art to paint themes important to Indian, as well as,
international audience.
Abstraction – A New Trend

While Husain largely remained a figurative artist, S.H. Raza
moved in the direction of abstraction. It is not surprising
then that landscape was a favourite theme for this artist. His
colours ranged from bright to soft, modulated monochromes.
If Husain used the figurative language of modern art to show
Indian themes, Raza made a similar claim with abstraction.
Some of his paintings draw from old mandala and yantra
designs, and even use bindu as a symbol of oneness from
Indian philosophy. Later, Gaitonde, too, pursued abstraction,
while artists like K. K. Hebbar, S. Chavda, Akbar Padamsee,
Tyeb Mehta and Krishen Khanna would keep moving between
abstraction and figurative.
Abstraction was important for many sculptors like Piloo
S. H. Raza, Ma, Pochkhanawala and printmakers like Krishna Reddy. For
1972. Bombay, India them, the use of material was as important as the new
shapes they were creating. Whether in painting,
printmaking or sculpture, abstraction had a
wide appeal for many artists across the 1960s
and 1970s. In South India, K. C. S. Paniker,
who later went on to establish Cholamandalam,
an artist village near Madras, was a pioneer in
abstraction. In fact, he showed by imbibing
artistic motifs from Tamil and Sanskrit
scripts, floor decorations and rural crafts that
abstraction has a long history in India.
2021–22

However, the tension between

internationalism (in which an artist could freely
use the style of western modern trends like Cubism,
Expressionism, Abstraction, etc.) and indigenous
(in which artists turned to native arts) grew
acute by the late 1970s. Sculptors like Amarnath
Sehgal struck a balance between abstraction and
figurative and created wiry sculptures as in Cries
Unheard. In case of Mrinalini Mukherjee, her
works tilted more towards abstraction when she
took up the innovative medium of hemp fibre, as
in Vanshri.
Many Indian artists and critics grew
worried about their imitation of modern art from
the West and felt the need to establish an Indian
identity in their art. In the 1960s, Biren De and
G. R. Santosh in Delhi and K. C. S. Paniker
in Madras moved in this direction when they
turned to the past and local artistic traditions to
create a unique Indian abstract art.
This style became successful in the West
and later in India and came to be known as G. R. Santosh,
Neo-Tantric art because of its use of geometrical designs Untitled,
1970. NGMA, New Delhi, India
seen in traditional diagrams for meditation or yantras. Such
works made during the height of the Hippie movement in
the West found a ready market, and were sought by galleries
and collectors alike. This style may also be seen as Indianised
abstraction. In Biren De’s works, this move led to captivating
K. C. S. Paniker,
experiments with colours and patterns. G. R. Santosh The Dog,
created a visual sense of cosmic union of male and female 1973. NGMA, New Delhi, India
energy, reminding us of purusha and prakriti
of the Tantric philosophy. K. C. S. Paniker, on
the other hand, made use of diagrams, scripts
and pictograms that he saw in his region and
evolved out of them a style, which was both
modern and uniquely Indian.
In that sense, eclecticism, in which an artist
borrowed ideas from many sources, became
an important feature of many Indian
modernists, of which Ram Kumar, Satish
Gujral, A. Ramachandran and Meera Mukherjee
are some examples.
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Since the time of the Bombay Progressive Artist’s Group,

artists began to write their own manifestos or writings, in
which they declared the main aims of their art and how it
differed from others. In 1963, another group was formed
under the leadership of J. Swaminathan, named Group
1890. Swaminathan also wrote a manifesto for the group,
in which the artists claimed being free from any ideology.
Rather than a set programme, they adopted a fresh look at the
material used in painting, and wrote about the importance
of rough texture and surface in their works as a new artistic
language. It included artists, such as Gulam Mohammed
Sheikh, Jyoti Bhatt, Ambadas, Jeram Patel, and sculptors
like Raghav Kaneria and Himmat Shah. It was a short lived
movement but left an impact on the next generation of artists,
especially, those associated with the Cholamandalam School
near Madras.
Tracing the Modern Indian Art

Modern art in India may have drawn some ideas from
the West but it differed from it significantly. The fact that
modernism as an art movement came to India when it was
still a British colony is hard to deny. This is clear when we
turn to artists like Gaganendranath, Amrita Sher-Gil and
Jamini Roy, who began to be considered as modern during as
early as 1930s. In the West, particularly in Europe, modern
art came up when academic realism in art academies began
to be rejected. These modern artists saw themselves as avant
garde or at the frontier of change from tradition to modernity.
With the phenomenal development of technology after
the Industrial Revolution, the traditional art that decorated
churches and palaces lost its meaning. Early modern
French artists like Edouard Manet, Paul Cezanne, Claude
Monet and others saw themselves working outside the main
art institutions. Cafes and restaurants became important
places for artists, writers, film-makers and poets to meet
and discuss about the role of art in modern life. In India, artists
like F. N. Souza and J. Swaminathan, who rebelled against
art institutions, identified themselves with these western
artists. What made a big difference in the story of modern
Indian art is that modernity and colonialism were closely
connected. Nationalism was not only a political movement
that arose following the Indian Revolt of 1857 but it gave
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rise to cultural nationalism. Ideas like swadeshi in art were

held by art historians like Ananda Coomaraswamy around
the late nineteenth century and early twentieth century. It
meant that we cannot understand Indian modernism as a
blind imitation of the West but there was a careful process of
selection carried out by the modern artists in India.
We have already discussed how nationalism in art can
be traced to the rise of Bengal School under the leadership
of Abanindranath Tagore in the late nineteenth century
in Calcutta. Subsequently, it took a different form at Kala
Bhavana, Shantiniketan. Artists like Nandalal Bose and
Asit Kumar Haldar, students of Abanindranath Tagore,
were inclined to draw inspiration from past traditions like
the Ajanta frescoes, and Mughal, Rajasthani and Pahari
miniature paintings, among others.
However, it was with artists like Gagendranath Tagore,
Rabindranath Tagore, Jamini Roy, Amrita Sher-Gil,
Ramkinker Baij and Benode Behari Mukherjee that we can
say a distinct modern attitude finds its place in Indian art.
Let us take an overview of how modern art developed in India.
An interesting fact to note about modern Indian art is that

the subject matter in painting and sculpture was largely
drawn from rural India. This is the case even with the Bombay
Progressives and the Calcutta group during 1940s and 1950s.
City and urban life rarely appeared in works of Indian artists.
Perhaps, it was felt that real India lives in villages. The Indian
artists of the 1940s and 1950s rarely looked at their immediate
cultural milieu.
The New Figurative Art and Modern Art from 1980s

Since the 1970s, many artists began to move towards the
use of figures and stories that are easy to recognise. Perhaps,
this was a way to express their concern towards social
problems, following the Indo-Pakistan war in 1971 and the
birth of Bangladesh. While K. G. Subramanyan, Gulam
Mohammed Sheikh and Bhupen Khakar in Baroda started
using storytelling in their paintings, Jogen Chowdhury,
Bikash Bhattacharjee and Ganesh Pyne in West Bengal, too,
painted the social problems that disturbed them.
Like the earlier generations of Indian artists, they, too,
explored old miniature paintings and popular art forms like
2021–22

calendar and folk art to be able to paint stories that could be

understood by the larger public.
Figures of people and animals could be seen in the work
of printmakers like Jyoti Bhatt (Devi), Laxma Goud (Man
Woman, Tree) and Anupam Sud (Of Walls) as a way to show
conflict between men and women in a world full of social
inequality. Arpita Singh, Nalini Malani, Sudhir Patwardhan
and others turned their attention to the plight of people
living in big cities. Many of these modern artists painted
such urban problems and tried to see the world from the
eyes of the oppressed.
In the 1980s, an important departure in this attitude can
be seen in the Baroda Art School, which came up in the
late 1950s. There was a change in the way artists began to
take interest in their immediate surroundings. Many artists
became aware of their role as citizens in a democracy and
social and political concerns found place in the artistic
production of this period.
They found a way to combine fact with fiction,
autobiography with fantasy and drew their style from other
art historical styles. Gulam Mohammed Sheikh would paint
the busy lanes of the old bazaar in Baroda while invoking a
medieval town in Sienna and the style of Italian painters like
the Lorenzetti brothers. Being a teacher of art history, he
knew how artists painted in earlier times in different parts
of the world.
K. G. Subramanyan, Sheikh’s teacher and a founding
member of the Baroda Art School, had studied in
G. M. Sheikh, Shantiniketan. He had learned about the public role of
City for Sale,
1984.
art from his teachers, Benode Behari Mukherjee and
Victoria and Albert Museum, Ramkinker Baij. He was interested in mural art or art on
London, UK large public buildings, which can be seen by everyone.
He was attracted to the technique of sand
casting, which was known to local Rajasthani
artists. From them, he learned how to create
large-scale relief sculptures by repeating the
basic unit of shape.
Among the many murals he made, there is a
famous one in Kala Bhavana on the outer wall
of a building. He did not want art to remain
confined to art galleries but be made a part of
public buildings for all to see. Such a public
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view of art can also be seen in a popular exhibition called

‘Place for People’ in 1981. It was shown in Delhi and Bombay
and had six artists— Bhupen Khakhar, Gulam Mohammed
Sheikh, Vivan Sundaram, Nalini Malani, Sudhir Patwardan
and Jogen Chowdhury. The first two were from Baroda and
an eminent art critic, Geeta Kapur, wrote about it. So far, we
came across manifestos written by artists themselves, but in
this case, the role of the art critic to explain what the artists
wanted to express became important.
A painter like Bhupen Khakhar painted the local barber
or watch repairer with the same earnestness as he painted
the experiences of queer men and their struggle with the
middle class morality. An important contribution of the
Baroda narrative painters was their eclectic interest and
K. G. Subramanyan,
acceptance of popular art forms that are visible everywhere Three Mythological Goddesses,
from trucks on highways to autorickshaws, in the back alleys 1988. Kala Bhavana,
of small towns and in small shops. Santiniketan, West Bengal, India
2021–22

Taking a clue from Khakhar’s bold move and the Baroda

artists’ celebration of popular art, younger painters in
Mumbai found inspiration in popular images on calendars,
in advertisements and film hoardings. These painters went
to the extent of using photographic images on canvas.
This style is different from what we have seen so far. It is
not modern in the same sense. It relies on double meanings
and experimental technique, in which watercolour is painted
in the style of a photograph.
New Media Art: from 1990s

With liberalisation of the Indian economy in the 1990s,
the impact of globalisation came to be felt first in big cities.
While on one hand, India made advancement in information
technology, it also saw many social and political issues. In such
extraordinary times of economic progress and social unrest,
artists began to look for ways of reacting to the changing times.
Medium like easel painting and sculpture that was created
by artists, who would earlier proudly sign on them as an
expression of their unique creativity, lost importance. Instead,
the newly available medium, i.e., video caught their attention.
Even photography seemed attractive as it allowed multiple
copies to reach numerous people simultaneously.
However, the art form that was increasingly seen as
contemporary was installation. It provided a way to combine
Bhupen Khakhar,
Janata Watch Repairing, painting, sculpture, photography, video and even television in
1972. Private Collection, India one space. This medium, which could spread out into a whole
hall could fully grab the attention from all sides.
On one wall, you could see a painting, while on
another, a video with sculptures hanging from
the wall with photographs displayed in glass
cases. It offered a new immersive experience,
which affected almost all our senses. However,
it was more dependent on technology and it is,
therefore, not surprising that most of the early
installation artists came from big cities — Nalini
Malani from Mumbai and Vivan Sundaram
from Delhi. However, their subject matter was
grim and thought provoking.
Photography, long regarded as the rival
of painting because of its easy copy of world,
gave new ideas to the artists. They developed
2021–22

a new technique called ‘photorealism’, which was used by

Atul Dodiya in Bapu at Rene Block Gallery, New York. Many
younger artists used oil or acrylic to paint in the manner
of a photograph or television screen. T. V. Santosh and
Shibu Natesan used photorealism to comment on communal
violence on one hand and at the same time, gave us a
glimpse of the new look that cities had acquired with India’s
technological advancements.
Photography could also be used to document changes in
society as artists saw them. Sheba Chachi, Ravi Agarwal and
Atul Bhalla, among others, photographed those, who lived
on the margins of our society, whom we do not notice much
in our day-to-day life — women ascetics, queer people, and
so on. Often, they would express their concern about ecology
like pollution of rivers and urban congestion. Photography
and video have inspired many contemporary artists.
Contemporary art is constantly changing with artists and
curators experimenting with technology and redefining the
role of art to better understand the world we are a part of.
At the turn of the present century, we find that almost all
major cities of the country have art galleries — both private and
public, and artists’ community dedicated towards creating
art using a wide range of media, including digital paintings.
Their experimentations, influences and expressions have
been documented through catalogues. Even social media
has played a major role in evolving local art. As a student of
visual arts one must explore artists’ work in their own cities,
as well as, the cities they visit, collect information about their
works, visit art galleries and learn about their contribution
to our society.
Project
Visit the National Gallery of Modern Art (NGMA) or any
other museum in your city or NGMA’s website and work on
a timeline to see different trends in modern Indian art after
1947 in terms of internationalism and indigenous. Students
should also make a note of where the timeline ends. Teachers
should discuss the role of curators and art critics in conveying
the meaning of artworks to the public. The type of material
used by each artist may also be noted.
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Exercise
1. Pata Chitra is a form of audio-visual storytelling still
practised in some parts of India. Compare this traditional
form of storytelling with modern storytelling or narratives
adopted by some Baroda artists since 1980s.
2. How does new technology like video and digital media
inspire contemporary artists to experiment with new
themes? Comment on different genres of such art forms
like video, installation and digital art.
3. What do you understand by ‘public art’? Find out about
different communities that live around your residence
or school and their understanding of art. If you have to
prepare a public monument, how will you design it in a way
that people can relate with it?
4. How do you understand the ‘art world’? What are the
different components of the art world and how does it relate
with the art market?
2021–22

The Lives of Medieval Saints

The Lives of Medieval Saints, a mural in Hindi Bhavana,
Shantiniketan, was created by Benode Behari Mukherjee
around the eve of India’s Independence from Colonial rule,
during 1946–1947. The mural employs the technique of
fresco buono and covers almost 23 metre of the entire upper
half of the three walls of the room.
Mukherjee skillfully reminds us of the syncretic and
tolerant tradition of Indian life as found in the teachings of
great Bhakti poets like Ramanuja, Kabir, Tulsidas, Surdas
and others.
Despite his poor eyesight, the artist sketched directly
on the walls without compositional sketches. The Lives of
Medieval Saints was painted in modern style, where each
figure is created with bare minimum lines. At the same time,
each figure relates with its neighbour by way of rhythmic
network of lines. In some ways, the mural reminds us of
a painted woven tapestry, a profession that many of these
saints belonged to. He was one of the earliest artists in
modern India to realise the potential of a mural to become
public art.
2021–22

Mother Teresa
This painting by M. F. Husain of the saintly figure, Mother
Teresa, belongs to the 1980s. It is painted in a style typically
of this artist, who created a new language of modern Indian
art. The figure of the faceless Mother appears several times,
each time holding a baby with a lot of attention given to the
hand. The central figure of the seated Mother has a grown
up man lying on her lap horizontally. This speaks of the
artist’s familiarity with European art, especially, the famous
sculpture of Italian Renaissance master, Michelangelo’s
Pieta. On the other hand, the flat shapes used to depict
the scene are modern. They appear like a collage of paper
cutouts. The artist is not interested in showing us the life
of Mother Teresa realistically but uses bare suggestions. We,
as viewers, have to follow the clues left by the artist to make
sense of the story. It is the kneeling figure of the woman on
one side that gives us a hint that the story about healing and
nursing the helpless is unfolding in India.
2021–22

Haldi Grinder
Amrita Sher-Gil painted Haldi Grinder in 1940. This was
the time when she was seeking inspiration from India’s
idyllic rural scene. Such a scene, depicting Indian women
busy in a traditional activity of grinding dry turmeric, had
to be painted in Indian style. It is not surprising that she
used bright, saturated pigments to paint this work. Given
her training in modern art in Europe, she was quick to see
parallels between miniature traditions of north India and
modern art of Paul Gaugin, an artist she admired. This is
evident in the way she has placed bright colour patches
close to each other and created shapes of figures by colour
contrast and not outline. Such a style of painting reminds us
of, as for instance, the Basohli paintings from north India.
The women and trees are painted as flat shapes. Sher-Gil is
not interested in creating any depth in the landscape and
prefers a semi-abstract pattern as a modern artist.
2021–22

Fairy Tales from Purvapalli

This is a painting using water and oil colours on acrylic sheet
and was created by K. G. Subramanyan in 1986. This is the
work of the prolific writer, scholar, teacher and art historian,
who draws inspiration from his familiarity with different art
traditions from India and the world. The title refers to his
home in Purvapalli, a locality in Shantiniketan, from where
his imagination seems to be travelling all around the world.
His imaginary landscape consists of a strange world, in which
birds and animals rub shoulders with humans. There are
unusual trees that grow feathers in place of leaves. This style
of painting is sketchy and colours are applied as in quick
brush strokes. The palette remains earthy — ochres, greens
and browns. The male and female figures on top reminds us
of urban folk art like the Kalighat painting that was popular
in Colonial Calcutta in the late nineteenth century. Again, as
in traditional miniature paintings, figures are arranged on
the top of other rather than behind each other, creating a flat
space, a sign of modern art.
2021–22

Whirlpool
This was a print made by India’s celebrated printmaker
Krishna Reddy in 1963. It is a captivating composition
created out of various shades of blues. Each colour blends
into the other to create a powerful web of design. It is the
result of a new technique in printmaking that he developed
along with a well-known printmaker, Stanley William Hayter,
in the famous studio called ‘Atelier 17’. This method came to
be known as ‘viscosity printing’, in which different colours
are applied on the same metal printing plate. Each colour
is mixed with linseed oil in varied concentration to ensure
that colours do not run into each other. The print’s subject
matter, dealing with water current, aptly captures the
technique based on understanding how water and oil behave
with each other. This celebrated print is in the collection of
the Metropolitan Museum of Art in New York, USA.
2021–22

Children
This is a graphic print on paper done with monochromatic
etching with aquatint made by Somnath Hore (1921–2006)
in 1958. The experience of the Bengal Famine of 1943, left a
lasting impression on him. His early sketches and drawings
were spot and life drawings of hapless victims of the famine,
suffering and dying peasants, sick and infirm destitute,
and portraits of men, women, children and animals. These
line drawings, which followed representational contours
and tonal devices, were seldom adopted. In this etching,
images of children were taken from the experience of the
famine of 1943, which was etched in his memory. This is a
close knit composition with five standing figures, having no
background, perspective or surrounding situation as the
figures are talking to themselves. The figures are linear,
each with a skeletal torso of a huge malaria spleen and
ribcage for the thorax. Supporting a huge skull, with a small
face, the whole body is seen resting on two stick-like legs.
Strong definitional lines of straight linear gestures, which
etched each rib of the thorax and each cheekbone, appears
as deep gashing wounds. The bone structure just beneath
the skin renders the effect of malnutrition on the people.
It creates narrative quality in the picture without taking
recourse to placing the figures in a situation of supporting
visual data, following reductionist and simplification method.
These children represent the most vulnerable section of
the society. Somanth Hore’s some other artworks include
Peasants’ Meeting, Wounded Animal, The Child, Mother with
Child, Mourners and the Unclad
Beggar Family.
2021–22

Devi
This is an etching on paper made by Jyoti Bhatt (1934) in
1970. He studied painting, printmaking and photography,
and was inspired by his mentor K. G. Subramanyan. He
carved out an art language based on folk traditions and
popular practices. He brings together many visual elements
into the a composite narrative. His works occupy tenuous
balance between space tradition and modernity, where
the past as a vibrant repository of forms is translated into
dynamics of the contemporary. In this print, pictorial image
of Devi is re-cast and re-contextualised with a linear drawing
of the frontal face of a woman, folk motifs and patterns.
The portrait of Devi is centrally placed as an iconic image.
The two-dimensionality of words and motifs around the
portrait expresses the Tantric philosophy, evoking the power
of self-evolution and self-involution, seeing reality as the
intertwining dynamic and static principle of Shakti. Bhatt
also made artworks like Kalpvruksha, Self-Portrait, Forgotten
Monuments, Sita’s Parrot, Still Life with Two Lamps, Scattered
Image under the Warm Sky, Tirthankara, etc.
2021–22

Of Walls
This is an etching made from zinc plate and printed on paper
made by Anupam Sud in 1982. She had studied printmaking
at the Slade School of Fine Art, University College, London,
in the early 1970s. When she returned to India, she was
drawn to its everyday reality. Apart from her deep interest in
social problems faced by people, belonging to marginalised
communities of the society, she was keen to understand
them artistically. Notice how she creates an interesting form
of a woman by hollowing out the face. The absence of face
gives it a brooding and sad expression. The painting depicts
the figure of a lonely woman seated on the pavement before
a dilapidated wall. In the foreground, we only get a glimpse
of the lower part of a poor man sleeping on the ground,
contrasting with the clothed woman, and adds to the sadness
of the print.
2021–22

Rural South Indian Man–Woman

This is an etching print on paper made by Laxma Goud
(1940) in 2017. Laxma Goud, a fine draftsman and
printmaker, studied mural painting and printmaking at
M. S. University, Baroda, and was influenced by his teacher
K. G. Subramanyan’s experiments with the narrative mode
and figuration of visual traditions, classical, folk and
popular cultures. He tries to erase sharp demarcations
between major and minor arts, thus, giving it linguistic
breath. This has helped him straddle various mediums, such
as glass painting, terracotta and bronze. In this etching, man–
woman are shown with trees in the background. It is based
on his childhood memories immersed in nature. Illustration
of a rural idyll is characterised through the prototypes of
peasant man and woman. The realist ingredient present in the
highly and ornately contoured shape brings in an element of
actual appearance of villagers but is steered towards a gentle
stylisation, which imposes on figures a touch of puppets.
This print is line-based and coloured. Some of his other
artworks are Woman, Man, Landscape of Turkey, Untitled,
Xiyan China, etc.
2021–22

Triumph of Labour
This is an open air large-scale sculpture in bronze made by
Debi Prasad Roy Chowdhury (1899–1975). It was installed
at Marina Beach, Chennai, on the eve of the Republic Day
in 1959. It shows four men trying to move a rock, rendering
the importance and contribution of human labour in nation
building. Unconquerable men are wrestling with nature,
doggedly, indeterminately and powerfully. It is an image of
labour against the elements of nature, a well-known romantic
subject of the nineteenth century. Chowdhury loved to dwell
on the strong musculature of his workers, revealing their
bones, veins, flesh, etc. He portrayed the extreme physical
effort of loosening a massive, immovable rock. Human figures
are installed in a way that create a curiosity in us as viewers.
It attracts the viewers to see it from all sides. The image of
group labour is placed on a high pedestal, thereby, replacing
the notion of portraits of kings or British dignitaries.
2021–22

Santhal Family
This is an open air large-scale sculpture created by
Ramkinker Baij in 1937. It is made out of metal armature
and cement mixed with pebbles, and placed in the compound
of Kala Bhavana, Shantiniketan, India’s first national art
school. It shows a scene of a Santhal man, carrying his
children in a double basket joined by a pole, and his wife
and dog walking alongside. Perhaps, it speaks of the family
migrating from one region to another, carrying all their frugal
possessions. This must be an everyday scene for the artist
living amidst the rural landscape. However, he gives it a
monumental status. The sculpture is made in the round,
which means that we can see it from all sides. It is placed on
a low pedestal, making us feel as if we are part of the same
space. The significance of this work is that it is regarded as the
first public modernist sculpture in India. We do not need to
go to a museum to see it as it is placed outside Kala Bhavana.
The material of which it is made of is important. The artist
has avoided traditional medium like marble, wood or stone,
and has preferred cement, the symbol of modernisation.
2021–22

Cries Un-heard
This is a sculpture in bronze made by Amarnath Sahgal in
1958. Although the artist only uses abstraction, in which
three figures are stick-like and shown in flat rhythmical
planes, yet it is easy to understand them as a family — husband,
wife and child. They are shown flinging their arms above and
crying out for help in vain. Through the medium of sculpture,
their helplessness expressed by the hand gesture is turned
into a permanent shape. It is possible for us to read this work
as socialist, whereby, the artist pays homage to millions of
destitute families in need of help, whose cries fall on deaf
ears. None other than socialist poet, Mulk Raj Anand, wrote
movingly about this work, which now is in the collection of
the National Gallery of Modern Art, New Delhi.
2021–22

Ganesha
This is a sculpture in oxidised copper made by
P. V. Janakiram in 1970, and is in the collection of NGMA,
Delhi. He has used sheets of copper to create pictorial
sculpture as free-standing forms, and ornamented their
surface with linear elements. Metal sheets are beaten into
concave planes on which are welded linear details. These
linear elements work as facial features and decorative motifs
to suggest religious icons, inviting intimate contemplation.
Janakiram is influenced by the ancient temple sculpture
of South India. The image of Ganesha, crafted frontally,
lends an important indigenous character of cave and temple
sculpture. In this sculpture, Ganesha is palying vina, a
musical instrument. Details on the sculpture and technical
blending of material, nevertheless, reveal his meticulous
craftsmanship. He also experimented with the ‘open-
endedness’ quality of indigenous workmanship. Ganesha
reveals his understanding of traditional imagery. He has
elaborated linear details into overall form. The sculpture is
conceived in terms of linear silhouettes instead of emphasis
on three-dimensionality, despite its volume. Rhythm and
growth are incorporated through lyrical stylisation. It is also
an amalgamation of folk and traditional craftsmanship.
2021–22

Vanshri
This artwork was created by Mrinalini Mukherjee in 1994.
She uses an unusual material to make this sculpture. She
uses hemp-fibre, a medium that she experimented with from
the early 1970s. Going by the intricate way, she has knotted
together and woven a complex shape out of jute fibre. It
seems to be the result of years of handling the new material.
For many years, her works of this kind were dismissed as
craft. Only recently her fibre works have attracted a lot of
attention for originality and boldness of imagination. In
this work, entitled Vanshri or ‘Goddess of the Woods’, she
turns this ordinary material into a monumental form. If you
carefully look at the figure’s body, you can notice that it has
a face with an inward expression and protruding lips, and
above all, a powerful presence of natural divinity.
2021–22

The Living Art Traditions of India 8
T here has always been a timeless tradition of art forms,
which have been practised for different reasons among
people, living far from urban life in interior terrains of forests,
deserts, mountains and villages. So far, we have studied art
of a certain time, a period named after a place or dynasties,
who ruled different parts of the Indian subcontinent for few
hundred years or so. But what about common people? Were
they not creative? Was there no art that existed around them?
From where did the artists come to the courts or patrons?
What did they use to make before coming to cities? Or even
now, who are the unknown artists making handicrafts in
faraway deserts, mountains, villages and rural areas, who
have never been to an art school or design institute or even
attended formal schooling?
Our country has always been a repository of indigenous
knowledge, which has been transferred from one generation
to another. Artists in each generation have created the best
of works out of available material and technology. Many
scholars named these art forms as minor arts, utility art,
folk art, tribal art, people’s art, ritual art, crafts, and so
on. We know that these art forms have existed from time
immemorial. We have seen the examples in pre-historic
cave paintings or works of pottery, terracotta, bronze, ivory,
etc., of the Indus period as well. During the early history
and its subsequent times, we find references
of artists’ communities everywhere. They
made pots and dresses, jewellery and ritual
or votive sculptures. They decorated their
walls and floors and did many more artistic
things to fulfill their daily needs and supply
their works to local markets at the same time.
There is an instinctive aesthetic expression in
their creations. There is symbolism, specific
use of motifs, materials, colours and methods
of making. There is a thin line between art of
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the people and crafts as both involve creativity, instinct,

necessities and aesthetics.
Even now, in many pockets, we find such artifacts. In
the nineteenth and twentieth centuries, a new perspective
emerged among modern artists when they looked at
traditional art forms around them as sources of inspiration
for their creative pursuits in India, as well as, the West. In
India, post-Independence a revival of handicraft industry
took place. The sector became organised for commercial
production. Apart from continued practice, it gained a
unique identity. With the forming of States and Union
Territories, each one of them showcased their unique art
forms and products in their respective State emporia.
The art and craft traditions of India showcase the tangible
heritage of the country with history of more than five
thousand years. Though we know many of these, let us talk
about few of them. By and large, there has been a religious
or ritualistic overtone with richer symbolism, utilitarian and
decorative aspects, associated with the day-to-day practices
at home to production on a large scale.
Painting Tradition
Among the many popular traditions of painting, Mithila or
Madhubani painting of Bihar, Warli painting of Maharshtra,
Pithoro Painting of North Gujarat and western Madhya
Pradesh, Pabuji ki Phad from Rajasthan, Pichhwai of
Nathdwara in Rajasthan, Gond and Sawara Paintings of
Madhya Pradesh, Pata Chitra of Odisha and Bengal, etc., are
few examples. Here, a few of them have been discussed.
Mithila painting
Among the most known contemporary painterly art forms is
Mithila art that derives its name from Mithila, the ancient
Videha and birthplace of Sita. Also called Madhubani painting
after the nearest district capital, it is a widely recognised folk
art tradition. It is presumed that for centuries, women living
in this region have painted figures and designs on the walls
of their mud houses for ceremonial occasions, particularly,
weddings. People of this area see the origin of this art form at
the time of Princess Sita getting married to Lord Rama.
These paintings, characterised by bright colours, are
largely painted in three areas of the house — central or outer
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courtyards, eastern part of the house, which is the dwelling

place of Kuladevi, usually, Kali, and a room in the southern
part of the house, which houses the most significant images.
Various armed gods and animals or images of women at
work like carrying waterpots or winnowing grain, etc., are
vividly portrayed in the outer central courtyard. The inner
verandah, where the family shrine — devasthana or gosain
ghar is located, griha devatas and kula devatas are painted.
In the recent past, many paintings are done on fabric, paper,
pots, etc., for commercial purposes.
The most extraordinary and colourful painting, however,
is done in the part of the house known as the kohbar ghar
or inner room, where magnificent representations of kohbar,
a lotus with a stalk in full bloom having metaphoric and
tantric connotation along with images of gods and goddesses
are painted on freshly plastered walls of the room.
Among other themes that are painted are episodes from
the Bhagvata Purana, Ramayana, stories of Shiva-Parvati,
Durga, Kali and Rasa-Lila of Radha and Krishna. Mithila
artists do not like empty spaces. They fill in the entire space
decoratively with elements from nature like birds, flowers,
animals, fish, snakes, the Sun and the moon, which often
have symbolic intent, signifying love, passion, fertility,
eternity, well-being and prosperity. Women paint with
bamboo twigs to which some cotton swab, rice straw or fibre
is attached. In earlier days, they made colour from mineral
stones and organic things, such as phalsa and kusum
flowers, bilwa leaves, kajal, turmeric, etc.
Warli painting
The Warli community inhabit the west coast of Northern
Maharashtra around the north Sahyadri range with a large
concentration in the district of Thane. Married women play a
central role in creating their most important painting called
Chowk to mark special occasions. Closely associated with
the rituals of marriage, fertility, harvest and new season of
sowing, Chowk is dominated by the figure of mother goddess,
Palaghat, who is chiefly worshipped as the goddess of fertility
and represents the corn goddess, Kansari.
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She is enclosed in a small square frame decorated with

‘pointed’ chevrons along the outer edges that symbolise
Hariyali Deva, i.e., the God of Plants. Her escort and guardian
is visualised as a headless warrior, riding a horse or standing
beside her with five shoots of corn springing from his neck,
and hence, called Panch Sirya Devata (five-headed god). He
also symbolises the guardian of the fields, Khetrapal.
The central motif of Palaghat is surrounded by scenes of
everyday life, portraying acts of hunting, fishing, farming,
dancing, mythological stories of animals, where the tiger is
conspicuously visible, scenes of buses plying and the busy
urban life of Mumbai as people of Warli see around them.
These paintings are traditionally painted with rice flour on
earth coloured walls of their homes. As mentioned earlier, are
painted to promote fertility, these paintings avert diseases,
propitiate the dead, and fulfill the demands of spirits. A
bamboo stick, chewed at the end, is used as the paintbrush.
Gond painting
Gonds of Madhya Pradesh have a rich tradition with their
chiefs ruling over Central India. They worshipped nature.
Paintings of Gonds of Mandla and its surrounding regions
have recently been transformed into a colourful depiction
of animals, humans and flora. The votive paintings are
geometric drawings done on the walls of huts, portraying
Krishna with his cows surrounded by gopis with pots on
their heads to which young girls and boys make offerings.
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Pithoro painting
Painted by Rathva Bhils of the Panchmahal region in Gujarat
and Jhabua in the neighbouring State of Madhya Pradesh,
these paintings are done on the walls of houses to mark
special or thanksgiving occasions. These are large wall
paintings, representing rows of numerous and magnificently
coloured deities depicted as horse riders.
The rows of horse rider deities represent the cosmography
of the Rathvas. The uppermost section with riders represents
the world of gods, heavenly bodies and mythical creatures.
An ornate wavy line separates this section from the lower
region, where the wedding procession of Pithoro is depicted
with minor deities, kings, goddess of destiny, an archetypal
farmer, domestic animals, and so on, which represent
the earth.
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Pata painting
Done on fabric, palm leaf or paper, scroll painting is another
example of art form practised in different parts of the country,
especially, Gujarat and Rajasthan in the West and Odisha
and West Bengal in East. It is also known as Pata, Pachedi,
Phad, etc.
Bengal patas comprise the practice of painting on cloth
(pata) and storytelling in regions of West Bengal. It is the
most receptive oral tradition, constantly seeking new themes
and formulating novel responses to major incidents in
the world.
The vertically painted pata becomes a prop used by
a patua (performer) for performance. Patuas, also called
chitrakars, belong to communities largely settled around
Midnapore, Birbhum and Bankura regions of West Bengal,
parts of Bihar and Jharkhand. Handling the pata is their
hereditary profession. They travel around villages, displaying
the paintings and singing the narratives that are painted.
Performances happen in common spaces of the village. The
patua narrates three to four stories each time. After the
performance, the patua is given alms or gift in cash or kind.
Puri patas or paintings evidently acquire their claim
to recognition from the temple city of Puri in Odisha. It
largely comprises the pata (initially, done on palm leaf
and cloth but now done on paper as well). A range of
themes are painted, such as the daily and festival veshas
(attires) of Jagannath, Balabhadra and Subhadra (e.g.,
Bada Shringar Vesha, Raghunath Vesha, Padma Vesha,
Krishna–Balaram Vesha, Hariharan Vesha, etc); Rasa
paintings, Ansara patti (this substitutes the icons in the
Garbhagriha, when they are removed for cleaning and fresh
colouring is done after Snanayatra); Jatri patti (for pilgrims to
take away as memorabilia and put them in personal temples
at home), episodes from the myths of Jagannath, such as
the Kanchi Kaveri Pata and Thia-badhia pata, a combination
of aerial and lateral view of the temple with the icons and
temples around or depiction of festivals around it.
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Patachitras are done on small strips of cotton cloth, which

is prepared by coating the cloth with soft white stone powder
and glue made from tamarind seeds. There is a practice of
making the borders first. A sketch of the figures is, then, made
directly with a brush and flat colours are applied. Colours,
such as white, black, yellow and red are, usually, used. After
completion, the painting is held over charcoal fire and lacquer
is applied to the surface to make it water resistant and lend
sheen to it. The colours are organic and locally procured. For
example, black is obtained from lamp black, yellow and red
from haritali and hingal stone, respectively, and white from
powdered conch shells. Palm manuscripts are illustrated on
a palm variety called Khar-taad. Paintings on these are not
painted with brush but incised by a steel stylus, and then,
filled in with ink, and sometimes, tinted with paint. There
may also be some text accompanying these images. There
are questions on whether to consider the palm leaf tradition
a part of folk or sophisticated art as it has a lineage that
stylistically connects it to the mural and palm leaf traditions
of the eastern and other parts of the country.
Phads of Rajasthan
Phads are long, horizontal, cloth scrolls painted to honour
folk deities of pastoral communities inhabiting the region
around Bhilwara in Rajasthan. For such communities,
safeguarding their livestock is the foremost concern. Such
concerns purposely reflect in their myths, legends and
worship patterns. Among their gods are defied cattle heroes,
who are brave men who sacrificed their lives while protecting
the community’s cattle from robbers. Designated by the
broad term bhomia, these heroes are honoured, worshiped
and remembered for their acts of martyrdom. Bhomias, such
as Gogaji, Jejaji, Dev Narayan, Ramdevji and Pabhuji, have
inspired widespread cult following among the communities
of Rabaris, Gujjars, Meghwals, Regars and others.
Illustrating the valorous tales of these bhomias, the
phads, are carried by bhopas, the itinerant bards, who travel
the territory, displaying them while narrating tales and
singing devotional songs associated with these hero-deities in
night-long storytelling performances. A lamp is held against
the phad to illuminate images that are being spoken about.
The bhopa and his companion perform to the accompaniment
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of musical instruments, such as ravanahattha and veena,

and employ the Khyal style of singing. Through the phads
and phad banchan, the community remembers the hero as a
martyr and keeps his story alive.
Phads, however, are not painted by the bhopas. They
have traditionally been painted by a caste called ‘Joshis’ who
have been painters in the courts of the kings of Rajasthan.
These painters specialised in court patronised miniature
paintings. Hence, the association of skilled practitioners,
bard musicians and court artists place phads higher than
other similar cultural traditions.
Sculptural Traditions
These refer to the popular traditions of making sculptures
in clay (terracotta), metal and stone. There are numerous
such traditions across the country. Some of them are
discussed here.
Dhokra casting
Among the popular sculptural traditions, Dhokra or metal
sculptures made from lost wax or cire perdue technique is one
of the most prominent metal crafts of Bastar, Chhattisgarh,
parts of Madhya Pradesh, Odisha and Midnapore in West
Bengal. It involves casting of bronze through the lost wax
method. The metal craftsmen of Bastar are called ghadwa.
In popular etymology, the term ‘ghadwa’ means the act of
shaping and creating. It is probably this that gives the casters
their name. Traditionally, the ghadwa craftsmen, besides
supplying the villagers with utensils of daily use also made
jewellery, icons of locally revered deities and votive offerings
in the form of snakes, elephants, horses, ritual pots, etc.
Subsequently, with a decrease in demand for utensils and
traditional ornaments in the community, these craftsmen
began creating new (non-traditional) forms and numerous
decorative objects.
Dhokra casting is an elaborate process. Black soil from
the riverbank is mixed with rice husk and kneaded with
water. The core figure or mould is made from this. On drying,
it is covered with a second layer of cow dung mixed with clay.
Resin collected from saal tree is, then, heated in a clay pot
till it becomes liquid to which some mustard oil is also added
and allowed to boil. The boiling liquid is, then, strained
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through a cloth, collected and kept in a metal vessel over

water. As a result the resin solidifies but remains soft and
malleable. It is, then, taken apart in small pieces, heated
slightly over low burning coal and stretched into fine threads
or coils. Such threads are joined together to form strips. The
dried clay form is, then, overlaid with these resin strips or
coils and all decorative details and eyes, nose, etc., are added
to the figures. The clay form is, then, covered with layers —
first of fine clay, then, with a mixture of clay and cow dung,
and finally, with clay obtained from ant hills mixed with rice
husk. A receptacle is, then, made from the same clay and
fixed to the lower portion of the image. On the other side, a
cup filled with metal pieces is sealed with the clay-rice husk
mixture. For firing in the furnace, saal wood or its coal is
preferred as fuel. The cup, containing metal, is placed in the
bottom with clay moulds over it, and covered with firewood
and potshards. Air is blown continuously into the furnace for
about 2 to 3 hours till the metal turns into a molten state.
The moulds are, then, taken out with a pair of tongs, turned
upside down, given a brisk shake and the metal is poured
through the receptacle. The molten metal flows exactly into
the space once occupied by resin, which would by now have
evaporated. The moulds are allowed to cool and the clay layer
is hammered away to reveal the metal image.
Terracotta
The more ubiquitous sculptural medium prevalent across the
country is terracotta. Usually, made by potters, terracotta
pieces are votives or offered to local deities or used during
rituals and festivals. They are made from local clay found
on riverbanks or ponds. The terracotta pieces are baked for
durability. Whether it is Manipur or Assam in the North-East,
Kuchchha in Western India, Hills in the North, Tamil Nadu
in the South, Gangetic plains or Central India, there is a
variety of terracotta made by people of different regions. They
are moulded, modeled by hands or made on a potter’s wheel,
coloured or decorated. Their forms and purposes are often
similar. They are either the images of gods or goddesses. Like
Ganesh, Durga or the local deity, animals, birds, insects, etc.
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An Introduction to

Textbook in Fine Arts

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OFFICES OF THE PUBLICATION

Chief Editor : Shveta Uppal

Chief Production Officer : Arun Chitkara

Published at the Publication Division Production Officer : A.M. Vinod Kumar

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a Rajput king and has unique features in its composition, colours,

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Arts and Aesthetics; for providing support during the textbook

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1. The Manuscript Painting Tradition 1

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inscribed either in the demarcated space on the upper portion

The most important folio-page of the set would be the

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keep surfacing time and again, challenging the constituted

Western Indian School of Painting

Birth of Mahavir, Kalpasutra,

Among the most widely illustrated canonical text in

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events leading to and around these — comprise most part of

Trishala’s fourteen dreams,

Other popularly painted texts are Kalakacharyakatha

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what is written. A small hole in the centre was created for a

Planetary bodies and

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Jain paintings developed a schematic and simplified

These paintings were lavishly painted with profuse use of

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tradition of painting before the formulation of court styles of

Distinctive stylistic features evolved during this phase and

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Persian, Turkic and Afghan — percolated into

Pala School of Painting

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Lokeshvar, Astasahasrika Prajnaparamita,

This practice enabled the dispersal of Pala art to places, such

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1_2.Rajashtani Painting.indd 10 01 Sep 2020 02:13:31 PM

hair were used in brushes. On completion, the painting was

Themes of Paintings – An Overview

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creator from whom all creation was a sportive emanation,

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Ragas are traditionally envisioned in divine or human form in

Bardic legends and other romantic tales, such as

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Malwa School of Painting