When the empire or Hursha f e l l , in the middle of the

|.7th century, the northern India broke up Into small p r i n c i -

palities. I t was during this period that saa« of tho Rajput
clans emerged as the new ruling class of northorn India, where
they established t h e i r kingdoms and enjoyed p o l i t i c a l powers
t i l l the coming of the Turks towards the close of the 12th
century, Though the northern India was conquered by tim Turks,
but the land which Hajputs occupied in north-West India and
came to be known as Bajasthan, remained in their possession,
t i l l the middle of the 16th century. The Turkish sultans of
l)0lhi could not consiuor this region as a whole thoufeh they
were successful In capturing and withholding certain pockets
in this region.

At the time of Akbar's accession in the year 1656 A.D.,

the region of Hajasthan was comprised of the states of Mewar,
Marwar, bikaner, Jalsalmer, Amber, Bundi, Sirohi, Banswara
and Deoliya. All of these states were ruled by the Rajput
rulers of the different clans.

itie f i r s t two rulers of Mughal dynasty, Babur and

Humayun could not foitnulate and implement any specific policy
towards t h i s region due to their pre-occupations in other
regions and with other problems. I t was Akbar the third ruler
of the same dynasty, who evolved a definite policy towards
t h i s region to f u l f i l his plan of empire building.
 • 282 •

With the eye of statesman Akbar saw that the uncertainty

of Mughal tenure of power was due to one basic faot| that
they were not the sons of s o i l . At that time the p o l i t i c a l
power was divided between Afghans and Rajputs. The Afghans
had already provad themselves as the source of trouble to
his predecessors both Babur and Humayun. Ihe only alternative
l e f t before him wus to seek assistance and cooperation of
the Bajputs, to gain the support of local element.

to achieve the support, cooperation and loyalty of

Hajputs, iikbar adopted a new policy towards the rulers of
Kajasthan, According t o t h i s policy the rulers ware persuaded
and if persuation failed then compelled forcibly to acknow-
ledge his sovereignty, to pay tribute and to serve the Imperial
court with their contingents. In return of t h e i r acceptance
of Mughal sovereignty and Joining of Mughal service, they were
l e f t independent as far as th-glr internal autonoray of their
respective t e r r i t o r i e s ware concerned. As a result of this
special favour t h e i r t e r r i t o r i e s wore classified by Akbar as
a d i s t i n c t class of land, termed as watup».1agirs. By adopting
t h i s policy Akbar had clearly shown that he did not intend to
destroy the Hajputs but he wanted their friendship, cooperation
and loyalty for the imperial throne, which he achieved through
his for sightedness.
 • 283 •

jp\irth«r to strengthen his policy, Akbar made matrlmonlsO.

alliances with the ruling Hajput howses of Rajasthan. The
Hajput rulers of /onberi Jodhpur, Blkaner, Doongarptir, Klshan-
garh and Jalsalmer gave their princess as brides to the Mughal
rulers and their sons throughout the period from Akbar to
/arrukh Slyar. The policy of matrimonial alliances not only
developed the bonds of blood relationship but also the feeling
among the Hajputs that they had u stake In the Mughal empire*
The matrliBonlal alliances also gave r i s e t o the establishment
of family t i e s between the Mughals and Hajputs.

However, I t was the condition of the Imperial service,

which brought the Hajputs in closer contact with the Mughal
court* The policy of matrimonial alliances and the Imperial
service started by Akbar, was followad more or less in the
same s p i r i t of objectlveness by his successors t i l l the reign
of Aurangzeb*

The process of ciiltural contacts between the Hajputs

and Mughals, started with the subjugation of Rajasthan by
Akbar, A>y virtue of ttieir subordination, the Rajput rulers
also accepted the condition of regular attendance at the
Imperial court and to serve the Mughal emperor. They enrolled
th^nselves In the Mughal service atid entered into the category
of HanSftVdtrs. The mansabdars formed the ruling group i n the
Mughal «Miplre, The incorporation of I.ajputs in the Mughal
 - 284 -

service was the result o£ the planned imperial policyf having

ImpXldt ffidtih in them. They were appointed on different
posts tjpto the highest post of the governors of the provinces,
fhe seme policy was continued by Akbar's successors in case
of appointments and service.

vsThlle in service» the Rajput rulers attended the Mughal

court with tJieir family memhsrs, clansmen and troopers and
came under the direct influence of the Mughal court and Mughal
way of l i f e , fhey attended the court observing a l l the manners,
Customs and practices of the Imperial court. To familiarise
themselves with court eti(|aetteS| they used to learn them
before coming to the court.

Beside the court attendance and service of the ®&pire

i n distant provinces, the Mughal emperors also entrusted
them with different types of duties which were closo to the
person of emperor and of vary natures. Such types of duties
gave them femple opportunities to study, to learn and to a s s i -
milate the various cultural a c t i v i t i e s of the Mughal way of
life.

i?\irth»r the material culture of Rajputs was also effec-

ted due to the generous nature of Mughal emperors|Who rewarded
different Kinds of a r t i c l e s to t^ese Hajputs often ar.d on,
which naturally enriched their muterlU. culture.
 - 286 -

The process of MughaX-iiajput contact wlis not limited

t o tho ruling eroups but I t took Into I t s Told the common a t
men alsO| who were basically the troopers of the Rajput r u l e r s .

I'hus the constant and close touch of Hajput rulers along

with their troops with tiie Mughal court and Mughal way of l i f e
throughout the Mughal poriod| ultimately started the process
of cultural give and take between the two cultures and each of
them considerably effected. The Rajput rulers of Hajasthan
assimilated, comeiously or unconsdouslyi what was the best
of liUghal culture, In their own way of life*

The imitation of Mughal court customa and practices

i n their courts was one of the conscious effort made by
them. The object of the imitation of Mughal court customs and
practices was to enhance t h e i r power and position in relation
to t h s i r fief-holders (tl^^jisffliaa^rg ^ JftSUtilftrs) on the seme
pattern, iirtiat the Rajput rulers had vis-a-vis to the Mughal
emperors. The remodelling of their courts, the classification
of nobility, the establlstoent of court customs and practices
of BMSLf peahkaah, escheat e t c , were largely under the
Influence of the Mughal court, Similarly the Introduction of
ehanki system, to guard the royal palaces by the fief-holders
were the result of Mughal courts influence*

Xhe penetration of the Mughal culture was not limited

to the courts only but i t Influenced almost a l l walks of l i f e .
 *> 286 •

/ o r the development or medieval social l i f e , the Hajpxjts owe

too much t o Kughals* Howeveri the influence on the social l i f e
of Uajaethan, appears t o be limited to the Ua^put a r i s t o c r a t i c
class i . e . their o i r i c i a l s and r e t a i n e r s . But some of the
social customs like M i i t 3.2liai greatly changed In t h e i r values
and concepts under the Mughal Influence, i'he dresses, ornaments,
food, education, amusements ware the most effected areas of
cultural syathesis, while the religious beliefs and custosas,
f e s t i v a l s remalmd more or l a s s unaffected throu^out the
period.

The system of administration of the Rajput s t a t e s rece-

ived a MflKpiilK ccmplete transfoxmation of the s y s t ^ under the
Mughal impact. The Mughal administrative terminology was
applied In almost a l l fields of administration. The division
of t e r r i t o r i e s Into smaller u n i t s , t h e i r ofxicials with iden-
t i c a l duties and functions like Mughal officials are the
glaring examples of the period. In the field of administration
the Important contribution of the Mughal court was to give
uniform fattern of administration to the states of Rajasthan,
which could not be possible without the imitation of Mughal
system of adminiatration. The systematiaatlon of the different
branches of attministration was also the result of Mughal court
p tit terns.

The art of the region affected in this process most. I t

i s the a r t , which Is more sensitive to the cultural winds.During
 • 287 •

the process of synthesis oi' Mughal*Rt.3put otaltures, the archi-

tecture and painting exhibit the su&e synthetic tendencies.
The Jiaiput toraples, palaces, musolewns were no longer planned
and built on the lives oi* traditional pattern of architecture*
They not only adopted the Mughal elements or architecture, but
they also broathe a new s p i r i t which demonstrate the Influence
of culture on each other. The true iSI archos of difforent
shapes, the vtailted roofs, the arabesques, etc*did not roaain
the sjrmbol of Muslim buildingsj since they became the part
and parcel of Rajput architecture* The synthesis of architec-
tural technique and styles i s not limited to the c i v i l and
memorial architecture b i t I t also Include the buildings of
sacred architecture (temples). The buildings of medieval
Rajasthan are the best examples of Mughal Rajput e\iltural
synthesis*

Lllce architecture, the Rajput painting also reached t o

I t s perfection due to the assimilation of techni(^e Mf s t y l e ,
subject matter and material culture of Mughal paintings and
Mughal court culture* The achievements of Rajput school of pain-
ting were largely due to the Impact of Mughal school of painting,
as i s evident If one study those paintings*
However, I t does not mean that Rajasthan l o s t i t s own
individuality in the above mentloued areas* Ue find the conti-
nuation of d i s t i n c t cultural heritage in almost a l l fiolds of
Modlaval Rajput culture.Xhe present study shows only a process
of cultural synthesis on a considerable scale*
 • 288 -

fitAacfi I
Sohool Hajasthani 1670 A.D.

Use o£ dark oolours Indian Dress

iilnoar Persp^otiva Indian iirchlteoture
^ngtxiar figures oS himan baings, i?\ill prfcflle
faces9 reswBbllng with western school of painting^
with two dimensional effect*
 • 289 -

ISSA^LS (nah9Shft) Ghawand (Mewar) 1605 A.D,

Dark baci<grji<Di3nd and nso of dark coloar»,
i.inear Perspective, Two dlni0r.slonal e f f e c t i
Background Indian t i e t t i n g , ..rchlt®cture
Indian, ^ngitlar i'igixvBS of hvman beings,
almond 8hap©d big ayes, s n a i l chin, pointed
nose. P r o f i l e f a c e s , peacock 6c deer-natxarallstic*
ShaKa<^r Issm i n Maledress.
1*^^.; -'W'^.oi
 • 890 - \

F^YII III

Mewar 1628 A,D,

Dark background and us® of l i g h t c o l o u r s ,
Linear p e r s p e c t i v e , i^ight scene, unirorm l i g h t
erfeot. Two dimenalonal effect though beginning
o£ three dimensional effect i s v i s i b l e *

ijack^round in Indian s e t t i n g , sky &

horizon r e a l i s t i c , b i r d s natur&l, IIuma,n f i g u r e s
i n Angular p r o j e c t i o n s , s i a e of ey©s and nose
proportionate.
Dress - Six pointed SLMS, trousers
 - 291 -

i a j a s t h a n l (Mewar) Mid, 16th century

An Abhlsarika i\ftyj.ka seoks her beloved

on a n i g h t or storm and rain*
S e t t i n g of bacicgroimd i n a p a v i l i o n ,
Indian A r c h i t e c t u r e , i.inear p e r s p e c t i v e , two
dimensional efioct* Use o£ dark coloiirg,
symbolic representatIon of r a i n and night,
uniform l i g l i t e f f e c t , iQucock's f e a t h e r tail
overlapping the undefined border, /uces f u l l
p r o f i l e , angular body, Wo trace of F.ughal Impact,
 - 292 •

Rajastheuai Mid, 16th century.

k vc«nan standing on a h l l l | dunclng and

singing with liaskt i n hand, two peacocks a t t r a c -
ted by mrsic,
S e t t i n g oi' tackgrownd in open land, use of
dark cold-irs, t r e e s decorative ard u n n a t u r i i l l s t l c ,
eiwi»cl©d formation of h i l l i n conventional s t y l e ,
small curved l i n e depicting the clouds i n upper
margin (conventional), symbolic r e p r e s e n t a t i o n of
r a i n , uniform l i g h t efi*ect. Indian d r e s s , angular
body, big nose and almoTind shaped aye, p r o f i l e
face l^ine&r pei'spective, two dimensional e f f e c t .
MO t r a c e of i^iUghai Impact.
 - 293 -

Raj as than! Kid, 16 th oenttiry

Pavilion s e t t i n g , a prince and princess
with a t t e n d a n t s , iiinear p a r s p a c t l v o , two
dimensional elTact, Archltoctwre Indian,
border underinac, woman i^'acos typifiod,
Indian d r e s s .
Mughal Impact on arcliltecttiro-dome,
bent vayitQd rooi\
p^
2=>l^tSX
 - 294 -

£MSM )QX

Hajasthani iiiarly V?tii o«iatury

A woBian s l a t i n g over the d a r p e t , attendad

by two Itxty miisicisiris,
Aerial p e r s p e c t i v e , Ihrae diinansi<Hial
e f f e c t due to i^lughai iaip&ct. /aces i n d i v i d u a l i s -
t i c , i.andsc£.pe uid t r e e s r e a l i s t i c .
The foreground of water with l o t u s flowers
unnatural aM conventional.
The design of carpet suggest Farsian influ-
ence through Mughel ecnart.
 - 296 -

JMEM mi

J^swar 1640 A.D,

Heroine convarslng with hero i n a p a v i l i o n ,
i.inear f a r s p e c t l v e , two dimansionul effect and
Uerk colour bycl?gnyind, decorstiv© t r a o s , p l a n t s
& flow<^rf5, b l r d p , swpgrnt, ccnvontlom^l p a t t e r n
of tiajp-ct sohool*

suggest Mughal impact.

 • 296 •

Hewar 1650 A,D.

Whole i^ainting divided i n t o thnae independent
panels. 1 l l l a r e d l a v l l l o n with bent vaulted
roor. The i'oregroi^nd water s e t t i n g in conven-
t i o n a l p a t t e r n , tr-ses, decorative. Dress
Indian and Mughal mixed, T;a:Kauohla Jama,,
t r o u s e r s ar.d pha,tk& due to Kughal lap a c t .
Three dliaensiorial e f f e c t . Use o£ dark colours
in bixc kg round.
Skyline narrow &. conventional.
 - S07 •

Hajasthani 1650-1680 A.D.

A r c h i t e c t u r e , Indian & Mughal
l i r e s s , Indian 4 Mughal.
F l a n t s i t r e e s , riowers, bii*dK decorative
Mugiiui irapact on dreias, carj-'ets, curtuins$
u t e n s i l s and i i r c n l t e c t u r e .
Use oi" l i g h t colours with dark colours
or the background.
 - 298 -

Mewar 1650 J...D,

i^andscap© Indian, biiCkgronnd of d&rk colcjurs,
t r e a s , pl4»,nts a i'lowars d e c o r a t i v e , skyllv®
aaarrow, Au^hixi jUapact on dress or mulu and
feraala, j^andscapa as i* wholg m i r e a l l s t l c .
 • 290 -

Mewar 1660 A,D.

Pleasura garden pavliion scan©, showing two
Ic-dles. landscape rei'inefi tmd nior© r e a l i s t i c
and n a t u r a l , t r e a s n a t u r a l i s t i c , material
c u l t u r e Ini'luencad by mighals, carj e t s , g o t l 9 t s ,
cups, dresses e t c . Use oX n a t u r a l i s t i c colours
i.uerlal p e r s p e c t i v e , ihree dimensional elVact.
 - 300 •

mmdmBkStmmimmt • twammmMjiutk

Btindl 1682 4.D,

This I s one of the s a r l l a G t dated painting

or the ijtindi school.
The pavlllor. background i s more decorated
I'he p i l l a r s k brackets ox' the puvilion as well as
the bent vaulted done reminds yome of the a r c h i t e c -
t u r a l f e a t u r e s oi iikbar's period.
The painting i s in a e r i a l p e r s p a c t i v e , three
dimensional ei'i'ect, COIOIT J^cheoe i^- more s o p h i s t i -
cated and l i g h t .
The Mughal impact i s v i s i b l e i n tiie composition,
drausos, ornaiients, c a r p e t s , cups & goblet e t c .
 - 301 -

Btindi X»ast ^laarter of th« 17th century

Th© (fountain pond) i^orasround and sky

according t o Wiigh?*! p a t t e r n bnd axe more n a t u r a l i s t i c ,
while the cantra oi" the painting I s of dark back-
ground, dacoratlvQ tre*2s, plants and flowers
according to Jiajpft school.
The painting Is i n a a r l a l p e r s p e c t i v e , three
dimensional effect,
Mughal impact in the oonpositjon and technivipo,
ihe feciiiie drasT consisted of half sleeved bodice,
s t r i p e d troi.iser;5, PlXiii^ '- p r p i . Ovei- the whole
tody t r a n s p a r e n t pjaiUiiMl with .Crilled l a p e l s due
to Mughal JjDipcct. -hudkin axinpits r:.hovf the use of
l i g h t ©i;d s h a d e .
^»'M
 • 302 -

Kajasthanl (Jaiptir) 18th oenlTiry

k woman wearing a. s k i r t of leaves, with bow

and arrovj s i t t i n g on a l o t u s sot*! in an IsltJid of
lake. The lake I s covered v i t h lotiis flowers and
water fowls,
Aerlcd p s r s p - c t l v e , the fiei^rs of l i d y In
lihr»e dimensional a i f e c t , Ihs t r s e p and plants
i n nat-uic^lictic s e t t i n g , wat-arllnQ zigzasi, a
p e c u l i a r fa&tiire of iisj&.3th.-inl p o i n t i n g .
Tho t r ^ a s , pl.jnts, flo'rfairs, fowls and figure
of lady r a a l l s t i c . UgiS of llribt and shide, sky
r a i i l i s t l c .'ill deri^ved froa Mughal p a i n t i n g s .
 «* 303 <*

•Uaglni

hajasthanl (Jaipur) ISth c^jntiiry

A woman i n ^ ronaal gard-jn, holding flowar

branches In aach hand.
.^arlal -'>9r3f•setlvo, 3 dln.-^nsional affect of
the pfelnting, UOQ of l i g h t ar:d sh^da, J e p l c t l o n of
t r a a s arid pljants both r e a l i s t i c unA d s c o r a t l v e .
The Mughal irrcpuct In tha gen-acal soMfosltiori of
the p a i n t i n g , fhe .5in,ili |5ond^ with fountains and
flshQs, the dowiaii p a v i l i o n , XXSB of l l ^ . t coloursi
2/3vd fwce of tha vonisn and ths dras: thoiigh Indian
but with addition of pliitkia^*
The fl£,i'r© of tliy lady 3s more* r e a l i s t i c
aiid n a t u r a l with proportionate face, nose, ayes
etc*
 •-•Jr.;
•si *''t.
 - 304 •

hujasthenl (lumdl) i''lrst cjijarter oi' 18th c .

Aarial perspective tmd 3f dimensional aiTact,

The colours both dark and l i g h t , ilia l&ndsoape
unnut7«irul with decorative t r e e s , p l a n t s , I'lowers
and bir'ds. The fore^ronnd ox" a oonc with x'oun-
t a i n , b i r d s and l o t u s flower accordlns! to conven-
t i o n a l puttarrj dev^slopsd diirinfj; the ftjghul p e r i o d .
The di'es^: ox" both men aiid wonien IT; mixsd,
t r a d i t i o n a l Indian und Kitghal dr©ss. l e c i d l a r l y
the Jvrishna i s 'v/oaring a transparant plated .Im^
ard a pi^inted trowserr. (Miighal d r e o s ) , rhe ffeces
X\ill p r o f i l a ur. w«ii ar^ S/3rd i^rlth I n d i v i d u a l i s t i c
 - 305 -

fi,/^|/S 0111
PaXcce ifdl9S h^fal^lns * r ^ 5^ pavUlon
haj&sthajTil (Bundi) about 1760 A«D«

Aerial rer&poctJve and 3y dimensional

©iTect, Ihe use of l i g h t ooiowrs jn tha coroposltlon.
Use oi" l i g h t and ahfe.dfe, landscape natiirnl and Persian
type Oi" h i l l s . The animals and t r e e s more natura-
lls-clc.
iha wcflier. XUQ&L. both p r o f i l e and 2/3rd,
afaaring of h&iJl dress by I t d i e s iia .vughfoi fashion.
I'he tordor of v i ^ t u r e well dafined.
 - 306 •

i«a3a.sthanl (K«war) Socond h t i r o£ 17th c»

i^erlal perspective aii& Sg> dim'Snolonal e f f e c t .

The dcsmlnuxice or i>rch3te'?tu\'e in tha o':!rapositlon
o l painting with t r a b e a t e t:)'>f> urQut^y s t y l e or
con«tnrctlon.
'i.ha tr«8s and p l a n t s both docorfestive as well
as ra a l l s t i c , fa.c5s o£ tha wotsten p r o f i l e \)Xkt not
typji'ied. iinimiU. I'lgiira tinnatisrallstic. Tha dresses
end ornaments of* l a d l e ? t o t h Iruian arid btjghal.
 - 307 -

K&j&sthanl (bikaner) Second half oi the 17th c.

F o r t r a n or uprer h a i r or body, ih© baoK-

groundi p i a j u . v'aca proi'iiej MlSty round the face
according t o :iU£h.^J. p a i n t i n g s . The Tace I s i n d l -
vlcli3 a i l S t i c . The p o r t r a i t In a rixad postvi-e oi"
Mnghal t r a d i t i o n , r e s t i n g the htuids over tha h i l t
Oi' th® swoi-d.

The coloitrs are ^ery l l ^ h t axcept black,

P o r t r a i t appe&rs t o bo aftd*? according to g^vah l^alrn
tdcnnlnwa of Hughals. The p a i n t e r i s s l s o a Muslim,
named Kuknuddln.
^ K'^:*^ . ./
 • 308 -

He, j as than! (Mewar) Secon<3 h&i£ of 18th ^jant'iry

e\iil p o r t r a i t oi Kal-iiirwia In 3t?indlng side

pos®, I'h© hands keeping bov -and arrow. i''&c« In
full proi'ila. i'he aur« ynrroiindlns the/^s rayed
one likG ,i^i:J:-:\^hottij p o r t - a l t s ,
Ihe btvck^ro^nd I s r l a l n , -olght eiTect nnlform
'i'hc ^^SA^ y r t o tl:!9 'j.nklas covering th© whole body,
VitoSii&a decorh.T.©d, ttu'baii oL' new d'asif^n, nne of
• » %