IMPORTANT SOURCE OF INFORMATION FOR PAINTINGS
- Mudrarakshasa - Sanskrit play was written by Vishakhadutta – mentions many types of Paintings during the 4th century period.
- Brahmanical Literature – the reference to the art of paintings with the representation of myths
- Buddhist Literature – mentions different styles of paintings with various base and themes.
- Vinaya Pitaka – 3rd – 4th century BC – houses containing paintings
Pre-historic Paintings
- The pre-historic paintings are generally executed in rocks in the caves.
- The major themes are Animals like elephant, rhinoceros, cattle, snake, deer, etc.. and other natural elements like plants.
- The pre-historic paintings are categorised into three phases – Paleolithic, Mesolithic and Chalcolithic.
- Characteristics
- Used minerals for pigments Eg: ochre or geru. They used minerals in different colours.
- Major Themes: group hunting, grazing, riding scenes, etc..
- The colours and size of the paintings have been evolved through the ages.
- Examples: Bhimbetka caves, MP; Jogimara caves, Chattisgarh; Narsingarh, MP
WALL PAINTINGS
- The wall paintings in India has existed from the 2nd century BC to Medieval times.
- They are also referred to as Mural paintings as they are painted on the walls of solid structures.
- Natural caves and rock-cut chambers are the predominant places for wall paintings
- Major Themes: Hinduism, Buddhism and Jainism
- Examples: Ajanta caves, Ellora Caves, Bagh cave paintings, Ravan Chhaya rock paintings, etc.
Wall Painting Places | Region | Characteristics |
Ajanta | Maharashtra | · From 4th to 8th century AD under different rulers; · Only Buddhism; · Medium of Paintings: Mineral and vegetable dyes; · Tempera style (use of pigments) · Also Fresco Paintings |
Ellora Caves | Maharashtra | · From 7th century AD · Paintings related to all three religions · Later paintings in Gujarati style |
Bagh Caves | Madhya Pradesh | · Tightly modelled and stronger outline · More earthly and human · Mostly secular in nature |
Ravan Chhaya | Odisha | · 7th century AD · Fresco Paintings |
Sittanavasal Cave paintings | Tamil Nadu | · Around the 9th and 10th century · Not only on walls but also on pillars and ceilings · Mostly paintings in Jain temples |
Lepakshi | Karnataka | · Mostly in temple walls · Vijayanagara period · Religious and secular themes |
MINIATURE PAINTINGS
- Miniature paintings are characterised with small and detailed paintings
- Human figures are mostly seen in side profile, bulging eyes, slim waist, pointed nose, etc..
- Different colours were used for different characters and the variety of base was used.
- Often painted on paper, clothes palm leaves, etc.,
- Mostly developed after the 11th century AD and mostly concentrated on eastern and western regions.
- The arrival of Muslims changed the characteristics of miniature paintings to a great extent. The major changes have been earthy tones, the absence of primary colours, detached appearances, etc.,
- The characteristics of Miniature painting was varied in different regions of the country.
REGION/PERIOD | SCHOOL | PERIOD | CHARACTERISTICS | EXAMPLE |
EASTERN INDIA | PALA | 11th – 12th AD | · Sinuous lines and subdued tones of colour · Lonely single figures and rarely finds group figures · Majorly influenced by Buddhism | Manuscript of Astasahasrika prajnaparamita (perfection of wisdom) |
WESTERN INDIA | WESTERN INDIAN SCHOOL | 12th – 16th AD | · Enlarged Human organs like eyes, breasts, hips. · Figures are flat with eye protruding into space · Majorly influenced by Jainism | Manuscripts of Kalpasutra in Devasano Pado Bhandar at Ahmedabad |
DELHI SULTANATE PERIOD |
| 13th – 16th AD | · Synthesis of Indigenous and Persian elements · Illustrated Manuscripts · Traditional elements | Nimatnama during Nasir Shah period |
MUGHALS |
| 16th – 19th AD | · Two Persian Masters – Mir Sayyed Ali and Abdul Samad Khan (Humayun Period) · Synthesis of Indigenous and Safavid school of Persian Painting · Naturalism with fine and delicate drawing · High aesthetic merit · Aristocratic and secular in nature · Under Jahangir reached its peak · Lost significance during Aurangzeb period | Tutinama;
Hamaznama;
Gulistan of Sadi |
DECCAN | AHMEDNAGAR
| 16th AD | · Rich and brilliant colours · Persian influence | Portrait of Burhan Nizam Shah II of Ahmednagar |
BIJAPUR
|
16th AD | · Rich colours · Presence of trees and animals · Use of gold colour (Persian influence) |
Najum-al-ulum (Stars of Science) | |
GOLCONDA | 16th AD | · Persian Influence · Rich and bright colours | Lady with the Myna Bird, Dublin | |
HYDERABAD | 18th AD | · Treatment of ethnic types. Costumes, jewellery, flora, fauna, landscape and colours | A Lady with the maid, Vilaval Ragini | |
TANJORE | 18th – 19th AD | · Bold painting, shading techniques · Use of pure and brilliant colours | Coronation of Rama in wooden painting | |
RAJASTHANI SCHOOL (17th – 19th AD) (Western India) | MALWA | 17th AD | · Use of contrasting colours · Refinement of drawings | Ragamala-1680 AD |
MEWAR |
17th AD | · Bold colours · Colours are bright and contrasting · Text of painting is written in black on the top against yellow ground | Aranya Kanda, Saraswati Bhandar | |
BUNDI
|
17th AD | · Red colour brilliant border · Overlapping and semi-naturalistic trees. · Rising sun in golden colour |
Bhairavi Ragini Painting, Allahabad Museum | |
KOTA | 18th – 19th AD | · Most of the space is occupied by hilly Jungle · Themes of Tiger and Bear hunt are very popular | Ragin Vasanta
| |
AMBER-JAIPUR | 18th AD | · Fairly large number of portraits of Jaipur Rulers | Jaipur Painting | |
MARWAR |
17th AD | · Executed in primitive and vigorous folk style · Completely uninfluenced by Mughal style | Ragamala (collection of Kumar Sangram Singh) | |
BIKANER |
17th AD | · Have greater Mughal Influence · Themes of Religion and Court Scenes | Krishna & Radha Painting | |
KISHANGARH |
18th AD | · Delicate drawing · Fine modelling of human figures · Use of nature to the great extent | · Bani Thani (Monalisa of India) by Nihâl Chand · Radha and Krishna, Kishangarh | |
PAHARI SCHOOL (Himalayan States) | BASHOLI | 17th AD | · Vigorous and bold lines · Strong glowing colours | Devi rides on a Chariot |
GULER |
18th AD | · Soft and cool colours · Inspired by the naturalistic style of Mughals |
Portrait of Raja Bishen Singh of Guller | |
KANGRA |
18th AD | · They are identical in style to the portraits of Raja Sansar Chand of Kangra. · In these paintings, the faces of women in profile have the nose almost in line with the forehead, the eyes are long and narrow and the chin is sharp |
| |
KULU - MANDI | 18th AD | · Bold drawings · Use of dark and dull colours · Has distinct folk character | The lady and the Crane | |
ORISSA |
| 18th – 19th AD | · The outline drawing was rendered with a stylus on the palm-leaf · Charcoal or ink was rubbed on the drawing | Gita Govind, Palm Leaf Painting |
FOLK PAINTINGS
- The folk paintings have been existing since ancient times and the styles and patterns have the huge diversity in various regions of the country.
- Most of the folk paintings are pictorial representations and the subject varies from religion to natural things and also the day to day activities.
- Folk paintings generally use vibrant and natural colours with various natural ground substances.
FOLK PAINTING | REGION | CHARACTERISTICS |
MADHUBANI | BIHAR (TERAI) | · Bright colours with contrasts or patterns · Traditionally done by women · Use of tribal motifs and bright earthly colours |
WARLI | Maharashtra | · Vivid expression of daily and social life · Generally in walls of village houses |
PATTACHITRA | Odisha | · Painting done on canvas · Manifested by rich colourful motifs and designs · Mostly mythological depiction |
KALAMEZHUTHU | Kerala | · Ritualistic art practised in temples and sacred groves of Kerala · Representation of deities like Kali and Lord Ayyappa is made on the floor. |
KALIGHAT | Eastern India (Calcutta) | · Use of watercolour on mill paper · General themes are religion, social sentiments, etc.. |
KALAMKARI | Andhra Pradesh | · Sharp pointed bamboo as pen and the base is cotton fabric · Vegetable dyes as colours |
MANJUSHA | Bihar | · Also known as Snake painting (use of snake motifs) · Paintings executed on jute and paper |
THANGKA | SIKKIM | · Cotton canvas as the base · Influence of Buddhism · Use of different colours for different scenes |
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