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The miniature is, a portfolio painting that uses
techniques similar to wall paintings, cloth
paintings or manuscript illustrations from which it
may have evolved. Example of miniatures in the
Mughal and Rajasthani styles exist from the 16th
century on when there was an efflorensence of the
art. Just as there is a difference in the romantic
Kangra style, so too the Mughal and Rajasthani
styles developed separate identities that, though
less apparent to the layperson's eye, nevertheless
stand out clearly as far as the connoisseur of art
is concerned.
From 16th century through the 18th, the miniature
style developed independently in the kingdoms, the
differences being marked in the way the painter
looked at the countryside, the hills and shrubs, the
forts and gardens and dunes of the desert.
Today, miniatures are turned out in almost assembly
line in the studios that have been especially
developed to cater to the tourist souvenir trade.
Even now, the talent available is formidable, and
while the best of the artists rarely see their way
into the open market (they are commissioned
directly, and their work may find its way into
collections, or be used to illustrate prestigious
art books).
The miniatures royal places-
In rajasthan, there were seven distinctive styles of
what are also referred to as Rajput paintings, and
they evolved in the following seven states:
BIKANER - One of the
finest schools of miniatures developed in this
desert state. Early examples exist from 1600 on and
show a marked Mughal influence. In fact, the local
style kept pace with the painters in the Mughal
court, and were expressive of their nuances, even
while the Bikaneri artist tended to be more
expressive. There have been cases of Mughal and
Bikaneri miniatures being mistaken for each other,
even though the paintings used backgrounds and
colourscapes that are more pleasant, and the foliage
(as if to make up for the desert conditions), more
luxuriant.
BUNDI AND KOTA - Though
the two ateliers eventually developed separate
identities, they began with marked common
identities. The result of the rise of the school of
miniatures here was the result Mughal intervention
that blended the two traditions of illustrating
court scenes.
In Bundi school, the background usually consists of
thick foliage, with a sky over laden with clouds and
illuminated by the light of the setting sun. Where
used, the architectural background is equally
impressive, with palaces and apartments depicted in
the fine detail. There is a lyrical expression of
love that permeates the paintings, and ornamental
backgrounds.
The same style evolved in Kota, but drifted away to
develop its own expression in a similar but
independent form.
KISHANGARH - The
Kishangarh figures are exceptionally attractive, and
show a refined delicacy. The backgrounds share the
elaborate styling of the Mughal paintings, but the
artist in Kishangarh has used a greater expression
of creative freedom. The artists tended to favour
the use of evening light, with grey skies setting
off the fine colours of the rest of the subject of
their canvas. However, the fine temperament lasted
only a few decades, but its outstanding contribution
ranks it among the finest body of work to find
expression in a canvas of such elaborate colours.
JAIPUR - The Jaipur
gharana of miniatures, while still active, was also
its most formal. Akin to the Mughal in its use of
backgrounds, and in the use of court settings, it
differed in the subjects that spanned a more secular
range. Of all the schools in Rajasthan, Jaipur's use
of colours is the most understated. Its depiction of
scenes of nature, no doubt inspired by Jehangir, too
are exceptional.
MARWAR - The Rathore
kingdoms tended to depict similar characteristics
for, though they were often at loggerheads, they
were also inspired by the same creative expressions.
Their miniature style, which is best seen in the
works of the artist at Jodhpur, merges it with the
traditional depiction of the human figure, which by
the 18th century, had been perfected. Even paintings
showing rulers practicing religious rituals are not
devoid of this quality of vibrancy. The backgrounds
tend to be characteristic too with thick, rich
decorative leaves of trees, and skies enriched with
thick, rolling clouds. Aniline colours too are
important features.
MEWAR - One of the
largest ateliers in Rajasthan was to be found in
Udaipur where, from the beginning of the 17th
century till the end of the 19th, there has been an
uninterrupted progression in miniature art.
The Mewar school is celebrated for its strong
colours and decorative designs.
SCULPTURE
Rajasthan is known for the fine quality of its
paintings, there is no escaping the overwhelming
presence of its great body of sculpture. One of the
most profuse forms of decorative art in Rajasthan,
particularly in the medieval period, it was lavished
on palaces and forts, in temples and stepwells, and
even in the havelies or townhouses of the merchants
and traders.
Religious icon are almost always carved out of
marble especially from Makrana marble mines, close
to Jaipur, have supplied the marble for these for
centuries together. Even today, for most shrines in
India, images continue to be carved in Jaipur where
religious iconography has developed into a fine art.
But Jaipur is merely a centre for creating marble
images. For sheer detail, there is nothing to beat
the excessive marble sculpturing developed by the
Jains at their temples. Most Jain temples have large
statues of their tirthankaras enshrined in the
sanctum. However, in the temples of Dilwara and
Ranakpur, these have found a fluid expression that
remains without a parallel in India.
Rajasthan - Monuments,Forts,Palces and Havelis
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