Indian Paintings Study Notes for UPSC/PCS in Hindi & English

Wall Painting Places

Region

Characteristics

Ajanta

Maharashtra

· From 4^th to 8^th 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 7^th 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

· 7^th century AD

·  Fresco Paintings

Sittanavasal Cave paintings

Tamil Nadu

·  Around the 9^th and 10^th 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

REGION/PERIOD

SCHOOL

PERIOD

CHARACTERISTICS

EXAMPLE

EASTERN INDIA

PALA

11^th – 12^th 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

12^th – 16^th 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

13^th – 16^th AD

· Synthesis of Indigenous and Persian elements

· Illustrated Manuscripts

· Traditional elements

Nimatnama during Nasir Shah period

MUGHALS

16^th – 19^th 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

16^th AD

·  Rich and brilliant colours

·  Persian influence

Portrait of  Burhan Nizam Shah II of Ahmednagar

BIJAPUR

16^th AD

· Rich colours

· Presence of trees and animals

·  Use of gold colour (Persian influence)

Najum-al-ulum (Stars of Science)

GOLCONDA

 16^th AD

· Persian Influence

· Rich and bright colours

 Lady with the Myna Bird, Dublin

HYDERABAD

18^th AD

· Treatment of ethnic types. Costumes, jewellery, flora, fauna, landscape and colours

A Lady with the maid, Vilaval Ragini

TANJORE

18^th – 19^th AD

· Bold painting, shading techniques

· Use of pure and brilliant colours

Coronation of Rama in wooden painting

RAJASTHANI SCHOOL (17^th – 19^th AD) (Western India)

MALWA

17^th AD

· Use of contrasting colours

· Refinement of drawings

Ragamala-1680 AD

MEWAR

17^th 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

17^th AD

· Red colour brilliant border

·  Overlapping and semi-naturalistic trees.

·  Rising sun in golden colour

Bhairavi Ragini Painting, Allahabad Museum

KOTA

18^th – 19^th AD

· Most of the space is occupied by hilly Jungle

· Themes of Tiger and Bear hunt are very popular

Ragin Vasanta

AMBER-JAIPUR

18^th AD

· Fairly large number of portraits of Jaipur Rulers

Jaipur Painting 

MARWAR

17^th AD

· Executed in primitive and vigorous folk style

 · Completely uninfluenced by Mughal style

Ragamala (collection of Kumar Sangram Singh)

BIKANER

17^th AD

 · Have greater Mughal Influence

 · Themes of Religion and Court Scenes

Krishna & Radha Painting

KISHANGARH

18^th 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

17^th AD

· Vigorous and bold lines

· Strong glowing colours

Devi rides on a Chariot

GULER

18^th AD

· Soft and cool colours

· Inspired by the naturalistic style of Mughals

Portrait of Raja Bishen Singh of Guller

KANGRA

18^th 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

18^th AD

· Bold drawings

· Use of dark and dull colours

· Has distinct folk character

The lady and the Crane

ORISSA

18^th – 19^th 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 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