UNIT 1- THE RAJASTHANI AND

PAHARI SCHOOL OF
MINIATURE PAINTING
A) Main features of Rajasthani
school of miniature painting
1) The Indian indigenous style of Rajasthani paintings shows bold outline and
brilliant colour in a harmonious pattern.

2) The composition is very clear and simple which based on puranic and epic.
Krishna Leela is most popular theme along with some stories of Ramayana
and Mahabharat. Paintings are also based on life of common people and local
love stories. Love story of Dhola Maru and rupmati Baj Bahadur are also
illustrated in this painting.

3) All figures are in same dimension without perspective women figure are
duplicate in same manner. Lotus eyes flowing dresses, cylinder waste and
Rory hands are the main features.

4) Paintings are two dimensional. Faces are gently shown in profile.

5) Mail use loose fitting garments, embroidered Pataka and turban.

6) Female use loose long Ghagra, choli and transparent odhni.

7) The female figure has been drawn relatively smaller than male.

8) Flat colour scheme has been used. Different colour has been used with
distinct meaning as read depicts worm, emotion and Fury, yellow the
marvellous, Brown the erotic. The use of red, blue, yellow and green colour
gives a contrasting brilliance, gold and silver colour have been used which
added special glamorous to these paintings.
 Maru Ragini
Medium- Tempera on paper
PAINTER- Sahibdin

The love story of Dhola Maru is very popular in Rajasthan and is both in
murals and miniature painting. Maru- Ragini is a Tempera painting done by
sahibdin, a famous painter of Mewar School. in this painting, talking and a
king his queen are riding on a well decorated camel in desert are, shown
background. Foreground is in light green colour. The king is holding the Rings
how the camel in his right hand looking toward the queen. The sky is painted
in the blue colour to depict night. Two male escorts with stick on their
shoulder are running side by side with the camel. One attendant is leading the
camel. A white colour racing dog is shown ahead of the scorts. The dresses of
the entire figure are in flat transparent colour with the impact of Mughal style.
‘Maru Sri Ragini’ written on the top of this miniature painting. The whole
composition is in the Rhythmic motion, now it is a collection of national
Museums, New Delhi.

Raja Aniurudh Singh hara

By Utkal Ram
Medium- Tempera on paper
Sub School- Bundi
Utkal Ram of Bundi did portrait of Raja Anirudh Singh Hara. The painting
shows the Raja on the back of a horse. He is dressed in typically Mughal
costume along with turban. The king’s dress is decorated with orange and
brown colours. He holds a flower in his right hand while

controlling the reins of horse with his left hand. The scabbard and sword hilt
are ornamented. The small head of the horse has added hugeness to the body
of horse.
 Krishna on swing
By Nuruddin
Medium- temper on paper
Sub School- Jodhpur
This painting is one of the best paintings by Nuruddin. The painting has two
parts depicting two different part of scene on the first part Krishna is shown
sitting on a swing on the left side. Krishna’s upper part is Semi clothed and
there is a white flower garland on his neck. There is a Dupatta hanging from
his shoulder and he is wearing an orange colour dhoti. The blue complexion
of his body has been highlighted. The swing has an ornamental border in a
hexagonal shape. Radha sitting in front of him in the balcony is wearing
traditional but decorated Ghagra and choli. They are looking each other. Her
head is covered with a transparent odhni and she is sitting on a red carpet.
There is a pillow supporting the back of both Radha and Krishna.
In the lower part both Radha and Krishna are sitting at different place under a
tree in the foreground. An attendant of Radha is also shown in the painting
both Radha and Krishna are sitting on a red carpet supported by pillows.

Radha (Bani Thani)

By nihalchand
Medium- Tempera on paper
SUB School- Kishangarh
The painting by Nihal Chand of Kishangarh of Rajasthani School has a special
place in the treasure of Indian miniature painting. It is characterized by
emphatic lengthening of eyes and nose. face is in profile with a very large
eyebrow and smile on the lips. The decorative art of hair spirolling down in the
cheek in front of ears. The painter was inspired by the poem of raja swant
Singh who describe the beauty of a lady called “Bani Thani” in his poem.

Her long tapering finger of the left hand is holding two Lotus Buds. Her odhni
is decorated with Golden motif and her dress and jewellery reflect the taste
and costume of contemporary Rajput royalty. The background of the painting
is painted in dark blue. Radha (Bani Thani) has been taken as the best painting
of Rajasthan. Postal stamp was issued by the government of India on which
the’ Radha of Kishangarh’ was shown.
 CHAUGAN PLAYER
BY DANA
MEDIUM -TEMERA ON PAPER
SUB SCHOOL-JODHPUR
This painting is painted by dana in jodhpur styl of Rajasthani miniature
painting. On the upper side of painting, two princesses are shown sitting on
their horse facing each other. They are playing polo with their four lady
companions. They are also sitting on their horses in the lower side of painting
though these horses are running in opposite direction. The companion’s faces
are on the same side where princes are looking. They are trying to control the
ball by long polo sticks all ladies have profile faces,high rounded forehead and
elongated eyes. The companion had covered their head with odhni. All the
dresses are in pure Rajputana style and well decorated. The ghagras spread
out in bell like with the movement of horse. Very bright colour has been used
in this painting the whole composition is against a light and flat green
background.

Bharat meets Rama at Chitrakut

By Guman
SUB SCHOOL-Jaipur
MEDIUM -TEMERA ON PAPER
This extraordinary tempera painting of Jaipur School was painted by talented
artist guman in 18 century. Its theme is based on famous emotional episode
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Bharat-milap of ramayna.In this painting bharat came to chitrakut for taking

back his elder brother rama to ayodhya with three mother and gurus.In this
miniature,49 human figure has wonderfully depicted in nine different groups.in
the background,rama’s green coloured beautiful hut at chitrakut is shown in
the dense forest.At its left,a small portion of mountain with shrubs and blue
sky are shown.In the foreground saryu river full of lotuses is shown.
The whole episode has been depicted in the middle ground of the
painting.In the first scene mother are coming with their female attendant
from left. In the second scene rama is greeting his mother along with sita
and Laxman. In the third scene at the top,kaikeyee is embracing rama near
his hut.In the fourth scene,ram is touching the feet of kaushalya.

In the fifth scene,sita is talking with her mother in laws. In the sixth
scene,rama is lying on the feet of his guru. In the seventh scene after
listeningthe news of his father’s death from Maharshi vashishtha,rama
becomes unconscious. In the eight scenes in the centre of middle
ground,rama sitting in polite posture and discussing with his guru. Bharat is
standing nearby while Lakshman and Shatrughna are sitting there. In the last
scene rama,sita and Lakshman are saying good bye to all in the wright corner
of this miniature.after promising that they would come back ayodhya after
completing 14-year exile and full filling their fathers order.

B) PAHARI SCHOOL OF MINIATURE

PAINTING ORIGIN AND
DEVELOPMENT
Pahari School of miniature painting comes into being after the end of Mughal
school. A new style that was developed in the Himalayas, foothill of
Punjab,garhwal and Jammu is known as Pahari school of miniature painting.It
is mixed style of Gujrat, Mughal and Rajasthanischool. withAurangzeb
prohibition of art, artist from Mughal court took shelter in hilly state of
Himalayaslike chamba,basohli,guler,kangra,mandi,Kulu,garhwal etc. It is
through them, the Pahari style of painting was born in 18 century .In these
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Himalayan states an indigenous art form based on folk art was already in
existence. The first known specimen from basoli discovered in1650 was
already matured. The Mughal and Rajput painters created a new Pahari style in
fusion with the local folk art. The artist was not forced by the kings to draw
subject matter chosen by them. Due to the freedom artist leave Mughal styl
and give new expression to their theme. The main centre of Pahari school
wasbasoli, guler, Kangra, chamba,mandi, Kulu, Bilaspur,
Jammu,garhwal,Kashmir etc.

MAIN FEATURE OF THE PAHARI

SCHOOL OF MINIATURE PAINTING
• Theme of Pahari school of miniature paintings are influenced by
classical,literature,music and local culture. The Pahari school
narrates Indian mythological and religious stories.
• In human figure, the backward sloping forehead, high nose in the
same line of the forehead, lotus like large eyes are main features.
• In women’s wear tight half sleeved choli, the full Ghagra hanging below
waist line and head covered with dupatta and abundance of ornaments.
• In men’s wear- Tight pyjamas, embroidered uttaria or kurta over the
body, various types of pagri. Ornaments on hand,leg,earandneck were
comman.
• The painters of Pahari school were great lovers of nature and depicted
nature with care and love in their painting. The poetry of
sur,tulsi,kesav,dev and bishari have been beautifully painted.
• Clarity of design and wonderful effect is created by the mixture of blue
and yellow,red and blue,grey and brown colour which enhance the beauty
of painting.
 • The depiction of flowers and plants, creepers and trees, birds and
animals reveal the power of keen observation of the artist.

KRISHNA WITH GPOPIS

ARTIST-MANKU
SUB SCHOOL-BASOHLI
MEDIUM-TEMPERA ON PAPER

The painting ‘Krishna with gopis’ painted by famous painter manku. In this
painting, lord Krishna is shown in happy mood with gopis at the bank of river
Yamuna. All the eight gopis decorated in luxurious costume are expressing
their regards and emotions to lord Krishna. The colour complexion of Krishna
is blue.He is wearing bright yellow dhoti and a jewel decorated crown with
peacock feathers on his head. The upper portion of his body is naked and
decorated with variety of ornaments. The entire figure has profile face,
slopingforehead, eye like lotus petals and sharp nose. In the centre of this
miniature, lord Krishna is embracing to gopies, third Gopi is touching his feet,
fourth is knee down posture and praying him, fifth is in param posture with
her her palm folded, sixth is holding a fan like round structure, seventh is
looking back and eight is holding a white Chauri. Facial expression of whole
group is divine and spiritual. In the background variety of trees are painted in
a queue in different colours. In the foreground Yamuna river has been
depicted by a fine white flowing dancing pattern.

NAND, YASHODA AND KRISHNA WITH

KINSMEN GOING TO VRINDAVAN
SUB SCHOOL-KANGRA
Painter-NAINSUKH
This is a beautiful,attractive and crowded tempera painting of kangra sub
school made by Nainsukh. In this painting a journey of nand, Yashoda,
Krishna and kinsmen going to

Vrindavan has been depicted in a very realistic mode. All the figures painted
in this painting are shown in the traditional dresses have profile faces, sloping
head, eyes like lotus petals and sharp nose. in the centre of this painting nand
baba is shown in a decorated bullock cart having a frilled umbrella above his
head. Just behind this bullock cart Yashoda is shown sitting with Krishna.
This kinsman is also accompanying nand baba to this devine journey to
Vrindavan along with there daily needs. Some kinsmen have milk, curd and
butter pitchers on their head. This is a very alive and natural depiction of men,
women, children, oxen and cows in this painting. In the background, roadside
forest scene adds extra beauty to this miniature.
 UNIT-2
MUGHAL SCHOOL OF
MINIATUREPAINTING
ORGIN AND DEVELOPMENT
Mughal miniature painting was originated in Persia and continued for about three
centuries in India. The first Mughal emperor Babur established Mughal empire in India in
1526. He was a man of aesthetic sensibilities. His son Humayun patronized the art of
miniature painting and brought few Persian artist to India. Notable name were abdus
samad, Mir sayyid ali. Humayun and his son Akbar took lesson from these artists. The
first major works of Mughal miniature were beginning under Humayun but was
completed under Akbar. During his period miniature painting were lively and realistic.
Akbar gave lands and high ranks to the artists as reward. This was the reason painters
put their maximum efforts, infused their soul in the art of miniature painting. After Akbar
his son Jahangir become the emperor. In his time Mughal painters achieved its zenith,
both in decorative and natural study. Farrukh baigh, aqa raja and ustad mansoor were
main painters during his period. Miskin, Jahangir,abul Hassan,ustad mansoor, ustad
faquirullah khan, hazi madni were the famous painters of Mughal school. Miniature
painting of the court of Jahangir’s son Shahjahan show the first decline.

MAIN FEATURE OF MUGHAL SCHOOL

 The workplace of Mughal school was confined to royal court only. Artist had no
freedom to express their emotion for art. The artist painted for the desire and
pleasure of the king. Mughal emperors were great lover of art. They used to pay
much respect, name and fame to the artist.
 Every Mughal ruler was very much fund of portrait paintings. The portrait are
depicted in profile or quarter profile.
 Mughal paintings are based on Indian non-Muslim stories. The composition of
crowded scene is very lively in Mughal miniature involving too many forms and
figures.
 The artist of Mughal school also painted the favourite topics of their master like
hunting scene, night scene, nature beauty,birds and animals etc.
 Decoration of garments and ornaments done in Mughal school is also marvellous.
The carpet on floor are full of beautiful design.
 The calligraphic inscription, halo around the emperor’s head and decorative
border are the special features of Mughal school.
 The natural colour scheme infused life in the painting. Specially designed painted
ornamental borders around the painting reflect the effect of Persian style. The use
of gold and silver form crown to foot wears reflected the royal luxury of Mughals.
 KRISHNA LIFTING MOUNT GOVERDHAN
MEDIUM –TEMPERA ON PAPER
ARTIST-MISKIN PERIOD-AKBAR

Famous artist miskin of Akbar period did this painting on paper in tempera technique. In
this painting lord krishna is lifting mount goverdhan. Face of krishna is one eyed profile.
Krishna holding the mount goverdhan on his little finger. The mountain has been made to
appear realistic by painting massive, rock, large trees and many animals shrubs and
grasses are painted between rocky ridges.A little bit of sky is visible above the mountain .
Below the mountain people of braj are gathered along with their cattle to take shelter
from the deluge caused by angry rain god Indra. Blue is the dominant colour in the
painting. lord krishna is painted in his virata-rupa. He is dressed in usual pitamber and a
large garland of white flowers hanging from his neck.He stands in a relaxed posture
lifting the huge mountain effort lessly.

Birth of Salim
Painter: Ramdas
Period: Akbar
Medium: Water colour on paper
Collection: National Museum, New Delhi
The theme of this painting is based on an episode of Akbar Nama. It was on the occasion
on birth of Prince Salim the whole people of Fatehpur Sikri and courtiers played music and
celebrating the occasion.This is a beautiful miniature painted in Mughal style. Some of
them playing drum, clarinet and other instruments. Some royal officials distributing
money to the people of Fatehpur Sikri. It is a typical example of the later manner of
Emperor’s court artists. The picture is in 3 compartments. The birth scene of the son of
Akbar and heir forms the subject of the upper compartment.The other compartment is
filled with musicians and servants. There is lot of excitement in the crowd outside. In the
background is a rocky fandscape. The painting shows the busy momments and stress of
the Akbar’s palace. Interest part in the painting is that the upper portion is the typical
bird’s eye view while for the lower panel the artist Ramdas is on a level with the scene
depicted. The strong colour contrasts, and the strong European influence, especially in the
scenery and clothes, are clearly seen in this painting.
 FALCON ON A BIRD REST
PAINTER-USTAD MANSOOR
PERIOD-JAHANGIR MEDIUM-TEMPERA ON PAPER
This is an excellent painting of the notable genius painter, ustad mansoor of Jahangir
court.
He painted it in tempera technique on paper in early 17 century AD. He painted this
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tamed (paltu) falcon resting on cushioned bird rest with highly realistic. The profile figure
of falcon is painted in black and brown colours against a contrast in yellow background.
The details of its feather are shown in brown colour Its sharp beak and round vigilant
eyes painted in shades of light brown and deep yellow ochre .A thin thread around the
falcon’s neck is also painted. This is one of the famous paintings of the world. Now it is a
collection of national Museum, New Delhi.

KABIR AND RAIDAS

ARTIST-USTAD FAQUIRULLAH KHAN
MEDIUM –TEMPERA ON PAPER PERIOD- SHAHJAHAN
This tempera painting of saint kabir and raidas was painted by ustad faquirullah khan in
17 century A.D. He was chief painter of shahjahan court in this painting saint kabir is
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weaving a cloth beside his hut in the rural area. The other great saint raidas is sitting close
to him with a mala of beads. Both saints are in deep meditation and in divine peace. This
is clearly visible at their faces. The composition shows the simple and peaceful
environment of Indian village. Very fine yellow and brown light and shades are used. The
border of this miniature is of blue colour. This painting brings the simple and peaceful life
of Indian village.

MARRIAGE PROCESSION OF DARA SHIKOH

ARTIST-HAZI MADAN
MEDIUM-TEMPERA ON PAPER
PERIOD-AWADH SCHOOL
Provincial art of awadh become very powerful under nawab shuja-ud-daula.It reached at
its peak under wazid-ali-shah. While keeping the basic mughal style, Awadh School
developed a style of its own.
‘’MARRIAGE PROCESSION OF DARA SHIKOH” was painted by hazi madni on paper in
Tempera technique. In this painting, a well dressed dara shikoh is shown riding on a
decorated horse back and he is leading his marriage procession. His father shahjahan is
also shown on another horse just behind him. A light blue halo around Sahjahan’s head is
shown to mark him special. Some of the royal people of the barat are also shown on
horseback and on foot. Some women are also riding on elephant in the background. Some
drummers are beating their drums on elephant. Large number of men, women and young
children of bride’s party is receiving the barat. Most of the figure in profile and few in semi
profile. All the people are in dressed in bright colour garments decorated with golden
colour. They are dancing, singing and enjoying.

DECCAN SCHOOL OF MINIATURE

PAINTING
ORIGIN AND DEVELOPMENT
The plateau region in south between Narmada River and Krishna River is called Deccan.
The new era of miniature painting took birth in Deccan after the decline of Behmani
rulers. Islamic Behmani ruler were also great lover of art as they belong to Persian and
Afghani origin, but they were frantic hence their love for art were confined only to
decorative floral and ornamental designs. In the southern part of vindhaya mountain
vijaynagar was a powerful Hindu kingdom where Indian art and culture flourished. The
murals made on virupaksh temple and virbhandra temple representing the episode of
Ramayana and Mahabharata shows the artistic heritage of Vijaynagar Empire. Behmani
ruler defeated the great Hindu kingdom of vijaynagar in the battle of talikota. After that,
the Hindu artists from vijaynagar and several mughal painters migrated from
Aurangzeb’s court to develop a new style of miniature painting in Deccan. But Deccan
school was mainly originated of the decline of Behmani ruler. Deccan school was
developed in plateau region between Narmada Krishna

River in south India during (1500-1800) ad. Though Deccan school in contemporary to
Mughal School but it developed differently. Ahmad nagar, bijapur, Golkonda, and
Hyderabad where main centre of Deccan school.

MAIN FEATURES OF DECCAN SCHOOL

 The painting style was influenced by mughal and Persian miniature.

 Deccani painting show a remarkable style of ragmala paintings. The colour in
the painting is mostly dark with typical Persian blue and orange to produce
artistic excellence.
 In human figures, they combined Persian and Indian figure, especially women
in their indigenous costume, elongated faces sharp features, wide open eyes
broad foreheads high neck over size jewellery, tall and cylinder figure are
Deccani inventions.
 In portrait painting, the Deccani artists were greatly influenced by mughal and
European and succeeded to producing a three dimensional effect.
  The Deccani artist from beginning tended less in realism more towards
imaginary.
 The colour used in the painting is rich and brilliant and golden colour is used
for flowering plants, costumes, jewellery and horizon.

CHAND BIBI PLAYING POLO

SUB SCHOOL-GOLKONDA
Chand bibi was the daughter of Husain nizam shah-1 of Ahmednagar. She was the great
Muslim female worried of Indian history and she is best known for defending Ahmednagar
against the mughal force of Akbar. This famous tempera painting of Golkonda was
painted in early 18 century A.D. In this painting Chand bibi is playing polo with her three
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companions and a polo master. They all are wearing rich and colourful dress. Chand bibi is
sitting on the white horse and her companion is sitting on red, yellow and blue horses.
These horses are fully decorated Chand bibi on the white horse has bent on horse’s back to
posses the ball. Polo master is standing in the centre of lower portion of the painting and
directing the game. The polo ground is uneven painted in green colour. The costume of
horse rider is richly decorated in bright colour. They were wearing multicoloured
Ghaghara and choli. The sky has been painted in deep blue colour. In the foreground a
pond with flowers and six water birds are painted. White moon in the sky shows evening
time. Red, yellow, blue, green and brown colour is used in this miniature.

RAGINI PATHAMSIKA
MEDIUM-TEMPERA ON PAPER
SUB SCHOOL-AHMEDNAGAR
This is one of the best paintings of ragmala series of Ahmednagar School. Ahmednagar
royal court encouraged music very much. Hence artist adopted theme based on Indian
classical music. In this painting a lady is shown playing veena in a palace. She is dressed
white saree with various ornaments. A female attendant in white saree moving fan from
right side while another maid in orange dress standing near on left side. A long lamp,
ornaments elephant and a jug are kept in foreground. There is a dark orange dome at the
centre of the roof. Few lines of Sanskrit poem are also written on the top. The artist has
used orange and green colour but in a balance portion. The whole format in its
background and fine calligraphy make this painting unique and beautiful.
 HAJRAT NIZAM-UD-DIN AALIA AND
AMIRKHUSRO
MEDIUM-TEMPERA ON PAPER SUB
SCHOOL-HYDERABAD
This is a beautiful tempera painting miniature painting of Hyderabad sub-school. In this
painting Sufi-sant hazrat nizam-ud-din Aalia is shown listening a Sufi song from Amir
Khusro in a peaceful atmosphere. Both are sitting on a platform covered with yellow
carpet in a beautiful garden. Both foreground and background filled with flowers in
repetitive pattern. The Sufi is dressed with green gown. A halo is around his head. His
body posture is cool and calm. Amir Khushro is shown in front of him .He is dressed in
Hyderabadi costume and a cap. He is playing ektara. A tree with flower and fruits in the
background adds extra beauty to this painting.

UNIT-3
THE BENGAL SCHOOL
OFPAINTINGS
ORIGIN AND DEVELOPMENT
Indian classical art of Rajasthani, Mughal and Pahari miniature painting
credited with the establishment of British rule in 1857. The art school of
Bombay, Calcutta, Madras and Lahore which has been established by British
the Western art education used to be given in western style. It caused a
vacuum and darkness in expressing our views and ideas the first
encouragement for revival of Indian art was led by the famous European
Artist E.B.Havell, principal, art School, Madras and later on ART School
Calcutta. Appreciated Indian art. Attracted the attention of the world toward
the Indian great artist tradition. He motivated and inspired Abanindranath to
study the technique used in Mughal, Rajasthani, Pahari and Ajanta paintings
to create a new style. After that Abanindranath painted series of
Radha Krishna painting. He also used Indian art, Western art, Chinese art and
Japanese art which finally become the style of Bengal school and are known
as wash painting E.B.Havell and doctor Anand coomar enhanced the fame of
Abanindranath by exhibiting his painting. Beauty of Indian art spreader all
over the world. His main student was Nandalal Bose, Asit Kumar Haldar,

k.venkattappa, suren Ganguly, Devi Prasad Roy Choudhary etc. Who

exhibited their painting on international stage and enhance the reputation of
Indian art. Under the guidelines of Bengal School several new art School e.g.
Lahore, Calcutta, madras, Delhi, Jaipur, Mysore were opened all over the
country by him and his students. Through this school Abanindranath style
spreader among the student thus he was able to generate a great interest in
the young student for the Indian classical art.

Main features of Bengal School

1. In this school so many religious, social, landscape, Birds, animals and
historical event were painted.
2. The soul of Ajanta is clearly visible in Bengali School.
3. Bengal paintings have tried to introduce linear delicacy, Rhythm and grace
of Ajanta in their painting.
4. The impact of Mughal and Rajasthani School is also there in the Bengal
paintings.
5. The colour scheme of painting is very attractive and bright colour have not
been used anywhere.
6. Light and shade have been shown which has added softness in the
painting.7) The rhythms of the human and animal figures give an extra
ordinary pleasure to eye.

8) The perfect medium of Bengal School of painting was water colour, ink and
Tempera. Japanese inspired technique was also applied to the painting.

Journey’s end
By Abanindranath Tagore
Abanindranath Tagore was born in the Tagore family in 1871. He was the
creator of Bengal School of painting and restore National Pride by reviving
the greatness of traditional Indian painting. ‘Journey’s end’ painted by
Abanindranath in new technique which he evolved with the fusion of Tempera
and wash. The pain and suffering of a dumb animal be clearly seen due to
burden in the half open eye of the animals.

Red, brown and yellow wash of colours give the background and the sky is
filled with the light of sunset. The foreground is painted in the darker tone of
the same colours. In this painting he showed of falling camel containing a
heavy load tied to his body. The 4 leg are bent and knees along with the head
and neck are in the sand and the Hind legs are straight. Pathetic scene make
the human heart upset. A massive load on the camel back shows the greed of
the master in exploiting the slave to their last breath. His life journey is about
to come to an end with the end of the day.
 RADHIKA
BY M.A.R. CHUGTAI

MD Abdul Rehman was born in 1897 in Chugtai family in Lahore. The painting
Radhika by Chugtai is drawn in profile. In this painting a very delicate Indian
lady shown. Postures have also been made romantic. She is holding two
lotuses in both of her hands. She is wearing a light violet colour Ghagra, red
colour choli and yellow colour Dupatta in typical Indian style. Her black hair is
flowing down her back. Her eyes are unique in arc of eyebrow. The artist has
succeeded in creating an impression of Radhika Bean delicate, flexible and
graceful. There is a lamp with stand in the left side of painting in Mughal
manner. The lamp has illuminated Radhika. The background is painted in
blending of black, red and yellow colour.

Tiller of the soil

By Nandalal Bose
The Tiller of the soil is one of the 83 Haripura poster made by Nandalal Bose
in
1937. Mahatma Gandhi invited him to decorate all Indian session Pandal at
Haripura. He applied the technique borrowed from Kalighat pat painting for
this purpose.

In this poster farmer is shown indulged in ploughing his field. He is half

naked and shown wearing a folded dhoti and a turban on his head. He is
also holding a stick in his right hand. His oxen are well decorated with
clothes and ornaments. The ploughed field is shown by three curvilinear
lines. This poster represents Indian life and culture. The whole composition
has been made very fast with Tempera colours on paper. Now it is a
collection of National Gallery of Modern Art.

Raslila
By kshitindranath Nath majmudar
Raslila is a well wash painting of kshitindra Nath Majmudar. He painted this
painting in 1926. In this painting Krishna shown dancing with 11 gopis under
trees in full of rugged trees trunk Laden with leaves. Krishna and gopis are
shown gentle and rhythmic body gesture. They have delicate look. There is the
hollow around Krishna’s head. He is decorated with various types of
ornaments. Krishna is half naked dressed in dhoti, gopis are painted in
lehenga, choli and dupatta. Their facial expression in full of divine pleasure.
The act of dancing and singing is painted nicely and artistically. Theme of
Raslila is taken from Bhagwat Puran in which Krishna Gopis dance is called
‘maharas’. Really it is a very beautiful and attractive wash miniature.

Meghdoot
By Ram Gopal Vijayvargiya
Ramgopal Vijayvargiya painted the theme Meghdoot in three separate series
based on Abhigyan shakuntalam written by Kalidas. In this painting the cloud
is known as a messenger in the form of Meghdoot in rainy season. Meghdoot
would take the message of yakshas message to his lover. This painting effect
of Bengal school and Ajanta yakshas is shown knee down posture having in
profile face. He has a white flower in his left hand. He is shown indulged in
writing a love letter in forest type in the lap of nature. He is shown wearing
traditional dhoti and having a long cloth on his left shoulder. There is a flower
garland around his neck and a janeu on his right shoulder. The clouds full of
rainwater are shown floating very close to yakshas as if they were eager and
excited to take message from yakshas and send to his lover. Where clouds are
affected in a very special manner which looks nature attractive. The birds are
shown flying higher than clouds. Now, it is a collection of National Gallery of
Modern Art, New Delhi.

Contribution of Indian artists in

thestruggle for National
freedommovement
Indian classical art Rajasthani, Pahari and Mughal miniature painting was
faded with the establishment of British rule in 1857. The Art school of
Mumbai, Madras, Kolkata Lahore which had been established by British the
Western art education used to be given in western style. British artist
spreaded propaganda that India had no worthwhile traditional fine arts and
Indian was incapable of learning it. They did their best to establish the
superiority of Western art and culture over the

Indians. At this situation famous painter like Raja Ravi Varma, Abanendra
Nath Tagore, Nandalal Bose, Asit Kumar Haldar and M.A.R Chugtai came out
with their excellent art work to establish the purity of Indian art over lifeless
Western painting. The great artist gave a tremendous moral boost to Indian
National Movement. Indian Society of Oriental art was established in 1907 by
renowned people and art lover of Bengal. Abanindranath painted the picture
of ‘Bharat Mata’ which was praised everywhere as patriotic art. He started
teaching Indian classical art. Thus he was able to generate Nationalism in
young generation and avoid western culture and western style. Indian
sentiments were deeply rooted in the Bengal School. They were struggling in
an era of independence of self respect and self determination in socio,
economic and political sphere. This way the Indian artist contributed in the
national freedom movement.

Evolution of Indian national flag

First 1906, Middle 1921 and final 1947
First national flag-1906

The first Indian national flag of India was hosted on August 7, 1906 in the Parsee
Bagan square (Green Park) Calcutta. Sachindra Nath Bose and Sukumar design a
layout of first national flag for our country. The flag was composed of three equal
horizontal strip of green, yellow and red. The green stripe on the top had eight white
lotuses shown in a row. The word “Vande Mataram’’ was written in dark blue colour
in devnagri script on the middle yellow stripe. The lowest red strip had a white sun in
the left and white crescent moon with stars in the right. The word ‘Vande Mataram’
was used first time for expressing the patriotism. Hence, this important slogan was
written on the first national flag.
Middle national flag-1921
The second national flag came out in 1921 in tricolor under the guidance of
Mahatma Gandhi during the meeting of all India Congress party at Vijayawada. An
youth of Andhra Pradesh, Pingali venkaiyah design two coloured flag and handed
over to Gandhi ji which was made in Red and Green colour that represented two
measure communities Hindu and Muslim of the country. Gandhiji suggested to add
one white strip as a symbol of the rest Indian communities and to put a dark blue
coloured Chakra in its Centre as a symbol of progress.
Final national flag-1947
On July 22, 1947 finally one new flag was hosted which was adopted as a national
flag of independent India by constituent assembly with some correction in the middle
national flag. This tricolour flag took the new shape with saffron at the top, white on
the middle and green at the bottom in equal proportion. “Dharam Chakra’’ of Sarnath
Lion Capital in navy blue colour has been put instead of ‘Charkha’. Its length to
breadth ratio is 3:2 and the diameter of Chakra is nearly equal to the width of white
strip of the middle. There are 24 spokes of Chakra which is the representative of 24
hour of the day.
Colours significance

1. Saffron- courage and sacrifice

2. White- truth and peace
3. Green- faith and chivalry
4. Chakra- progress and Dharma Chakra
5. 24 spokes- 24 hour of the day
6. Blue- Unity
 Modern trends in Indian art
Introduction-
Indian art during 1900-1925 came to be dominated by the Bengal School. Raja
Ravi Varma, a self tought painter of south, popularified mythological theme
with very realistic style of west. Abanindranath Tagore from Bengal, develop
and Indigenous style of painting and built up Bengal School along with his
disiples like Nand Lal Bose, Vinod Bihari, Sharada ukil and other. Amrita Sher
Gil, trained in Paris appeared in the art scene of India. She combined the
Western technique. The famous poet Rabindranath Tagore started paintings
at the age of 67 and blocks the impressionist in his painting. Gaganendranath
tried cubistic painting. Jamini Roy, rediscover the beauty of folk art and
redefined it into modern art. Ramkinkar at Shantiniketan started sculpture and
painting in a expressionistic way. DP Roy Choudhary started bronze casting,
figurative converted into abstract painting to search beauty. Somnath hore,
Anupam sud brought variety of Modern Art By their graphic prints.

PAINTINGS-
Rama vanquishing the pride of
ocean
By Raja Ravi Varma
This is a famous mythological painting of Raja Ravi Varma, painted on an
important episode of valmik’s Ramayana. He successfully shows the Rama’s
anger at the ocean for his non cooperation to build a bridge to Lanka. Rama
wanted to construct a bridge over the Ocean to reach Lanka with his forces for
bringing back his wife Sita from Ravana’s custody. Rama threatened ‘varuna’
God of water that he would destroy the ocean from his bow and arrow. Karuna
along with his wife is speedly come forward and requested Rama not to dry
the ocean. Then he allotted angry Rama to build a bridge on the ocean. This is
a realistic painting with western technique. In this painting Rama is shown in
only fluttering dhoti which depicts the strength of the Wind blowing from the
ocean. The sky is painted in dark colour. The flow of sea waves is painted as
they are striking back from heavy sea rocks. Rock is shown in the foreground
in dark brown colour. Brown, blue, yellow and light pink are used in this
painting. Now it is a collection of the chitrashala Musore.

Mother and child

 By Jamini Roy
Medium- Tempera on watercolor

This is watercolor tempera of ‘mother and child’ was done by the famous
artist of Bengal, Jamini Roy in 1930. In this painting, mother is holding her
child with left hand on her left waist. Both of them have fish shaped open
eyes and bold eyebrow. The shape of their faces looks like a cup and has cool
and calm expressions of love. They are decorated with white colour. Mother’s
right hand palm is red. She is wearing brown saree of green border decorated
with black lines. On the left lower part of a flowering steam of the plant is
shown. The final decoration done in bold line which makes whole
composition very rhythmic and attractive. Perfect use of vermilion yellow
ocher, Brown, green, blue, black and white colours is giving extra look to this
painting. This word resembles with Kalighat pat works. Now it is a collection
of National Gallery of Modern Art, New Delhi.

Haldi Grinder
Artist: Amrita Sher Gil
Period: Modern
Medium: Oil colures on Canvas
Collection: National Gallery of Modern Art, New
Delhi
The painting shows the burden on the life of women in India Use of bright,
saturated pigments is particularly marked in the painting .In this painting
three women are portrayed in the centre of the picture. They are wearing
plane yellow, white and red saris. There is a dark black and brown woman
behind the tree; she seems to be in rest mood. Bright coloring on the dress
against blurred and faint brown background with two massive trees make the
painting very effective and forceful. This picture has shown the females of
rural life as weak, yet commanding .Has portrayed the ordinary females with
depth, strong sense of dignity and massive power on their livelihood.

Mother Teresa
 By M.F Hussain
Maqbool Fida Husain was born on September 17, 1915 in Pandharpur, Madhya
Pradesh. He painted ‘Mother Teresa’ in 1979. Mother Teresa, who lived in
Kolkata and served the poor and the homeless is a world known personality.
This inspired Hussain to paint a series of paintings on Mother Teresa. In this
painting Hussain has not shown her face. But left the space dark. The saree
with blue border identifies Mother Teresa. The composition is divided into
three parts by two uneven vertical pillars. The colours of pillars are yellow and
light brown. In the left, mother is talking care of a child on her lap. In the centre
there are two mothers like forms. They are faceless. One raised hand shows
the gesture blessing. The veil of one of them is extended towards right .The
red reclining figures is covering the whole space from left to the right. A
devotee is touching the hand of the figure. The dominant colours of the
painting are dark purple, white, red, yellow and green.

The Vulture
By Kamlesh Dutta Pandey
Dr. Kamlesh Dutta Pandey was an educationist, writer and painter. He was
one of the founder members of samikshawad. In his lifetime he had many
exhibitions to his credit which were organized across the country.
Dr. Kamlesh Dutta Pandey’s “vulture” painting is proof of the devil of dowry
present in the modern society in India. The active vulture, ready to snatch the
flesh of body without thinking whether the animal would leave or die, has
great similarities with the Indian woman who is treated as a creature and has
no say in respect of male.
Our male dominated society has made them such a helpless creature that
they cannot think about their life. The dowry system is a slur on our society.
We have abolished this discrimination system to create a new world for
women, where they may feel full freedom of life and achieve equality with the
male population.

Graphics prints
 whirl pool
By Krishna Reddy
Krishna Reddy was born in 1925 in Chittor, Andhra Pradesh is one of the most
renowned sculpture and graphics artists of the world. He made whirl pool in
1962. this is an exclusive etching on zinc plate in intaglio technique. In this
work, he has shown an impression of whirl pool in his experimental style. First
he catches the whirling motion of water in his mind, and then he was created it
on his print. In this print the water is soon coming from all sides towards its
centre and creates the image of whirlpool. Krishna Reddy has successfully
caught the whirling motion. The painting gives an image of wave converging
toward the centre from all sides. The artist uses the different shades of blue
and green to enhance the texture of the print which gives special brightness.

Of wall
By Anupam Sood
Anupam Sood is one of the finest print makers of the modern age. She was
born in 1944. Of wall is a graphic print in lithograph. In this monochromatic
with lithography print, a women is Shown sitting on one side. On her back
there is a brick wall with plaster. She is wearing traditional dress of a widow.
Her blackface indicates that she has also died after her husband. The brick
walls isolate her from social life. Some folk types of white line drawing are also
drawn on the wall. In the foreground lower portion of a male figure is shown
near the women. Some part of temples like structure is also visible from back
of the wall. The Print is a powerful protest by the artist against society creating
such a wall on the basis of caste, religion, and status.

Devi
By Jyoti Bhatt
Devi is an excellent image of Deep teaching done by a famous Indian graphic
artist Jyoti Bhatt. he was born in Bhavnagar, Gujarat in 1934 and completed
diploma in fine art from M.S university, Baroda in 1954 and post graduate
degree in fine art in 1956. his work ‘DEVI’ is based on the concept Kundalini
power with lies in the muladhar Chakra( in point of spine) in all human being
when this power arises in a person, it generate immense power to feel divine
pleasure and light forever. Jyoti Bhatt shows the female fertility power in the
lower part of this composition and male power in the heart of the Devi. The
Spiritual grace of Deve is depicted by two flowers shows on her cheeks. She is
shown wearing flower in her ears. on her symbolically depicted right Palm
three word ‘pseudo’, ‘tantrik’ and ‘Kundalini’ are written in English script while
one word is written in devnagri script. similarly, on her left palm, he has
written his name in English and three words ‘tantrik’, ‘Ram-Ram’ and ‘Sree’ in
devnagri script. In the Midst of the serpentive Kundalini the word Ram-Ram is
also written. Red bindi Ornaments the forehead of Devi’s head. Her large eyes
resemble the image of Goddess Durga.

Children
 By Somnath hore
He was the most versatile artist of modern India. He was born in 1921 in
Chittagong now in Bangladesh. He made this print work in 1958. The children
and etching with black and white work by Somnath hore symbolizing his
lifelong protest against the injustice on humble and innocent poor people of
the society by the rich and powerful ruling class. The composition shows five
standing figure, all victims of starvation. Two boys are standing with their
mother. A girl is standing left side of the print. This girl might be their sister
whose back portion is visible. One child is shown at top. His face and hand
are only visible. All members are shown in torn clothing. To indicate their
total isolation there is no background, perspective, surrounding as if they are
totally abandoned by society. The deeply etched ribs and check bones appear
deep gashing wounds.

Man, woman and tree

By K.Laxma Goud
K.Laxma Goud was born in 1940 in nizampur, Andhra pardesh. He is one of
the finest printer and print maker of modern India. He received the diploma in
drawing and painting from government art and architecture Hyderabad in
1963.Man, woman and tree is one of the best known graphic prints of k.
Laxma Goud.

In this print a man and woman is shown in midst of beautiful shrubs. Both are
facing each other and there is a smile face. the man is shown in the Groove of
three Trees. Only upper portion of his body visible.A very simple young
woman is shown in a saree of dotted print. She is wearing a nose ring, a
Mangal Shutra and two bangles in each hand. The fourth tree is shown behind
her. the face expression of both man and woman are innocent and caring as if
they were doing great jobs of parenting nature. The message of this print that
correlation between human and nature must be maintained for survival of
mankind. Now, it is a collection of National Gallery of Modern Art, New Delhi.

Sculpture
TRIUMPH OF LABOUR
 By D.P Roy Choudhary
Medium-Bronze
D.P.Roy Choudhary was born in Rampur now in Bangladesh. He was genius
both in painting and sculpture. In sculpture he used clay modelling, plaster of
paris and bronze casting Triumph of labour is a sculpture made of bronze is
one of the best example of his work of sculpture. The four figures in the group
engaged in moving a massive rock with the help of wooden log. They are
muscular labours their heads are covered with thin cloth to protect against the
heat of the sun. The labour they put as a symbol of progress of man. The
difficult reverse movement which is a unique feature of the sculpture.

Santhal family
By Ram kinkar vaij
Ramkinkar studied at visva Bharati in Shantiniketan and was closely
associated with Nandalal Bose and Binod Bihari Mukharji. He is one of the
best known as sculpture and painter of India. He generally used concert for his
sculpture. SANTHAL family is made of same medium by him. This is culture is
a complex composition of Santhal couple with a dog and a Child sitting in a
basket hanging from a pole. The woman is walking beside the man. She has a
load on her head. It represents Migration of Santhal family in search of
livelihood with full hope. This sculpture is situated on the road side in ‘Kala
Bhavana’ Shanti Niketan.

Cries un-heared
By Amarnath Sehgal
Medium-bronze
The wide known bronze casting sculpture ‘cries un-heared by Amarnath
sehgal won him the president Golden plaque award in 1958. It is a symbolic
creation of a family of three figures, the parents and their child, expressing the
deep anguish the sculpture at the injustice prevalent in society. the figures are
tall and hand raised toward the sky are shouting to the word how through the
ages they have been victims of political and social injustice with no one to
here to there protest. The Mask like faces of the victims seems to suggest they
have been suffering at the hands of unjust people in society, who have been
exploiting them.

Ganesha
 By P.v jankiram
P.V Jankiram was born in 1930 in Madras. He received the degree of fine art
in
1953 from government Art College Madras and in sculpture in 1963. P.V
jankiram ‘Ganesha’ in oxidized copper is one of the finest creations. The six
handed dancing figure of Ganesha using lower two hands to hold Veena and
playing it. While four other hold the traditional sankha, Chakra, Gada and
Padma (lotus). The sculpture shows unique feature of forms, smoothness of
surface and ornamentation as there is an effort to revive the folk art of south.
The form gives a hint of moment in his dancing posture.

Chatturmukhi
By Aekka Yadagiri Rao
Aekka Yadagiri Rao was born in 1940 in Hyderabad, where he completed his
studies in College of Fine Arts. Chatturmukhi is a famous sculpture depicting
four different faces phases of women’s life. This is sculpture is made of
sandstone, thirteen feet height. It is based on geometrical form on a square
platform. it is four sided large Monolithic column sculpture placed in the
National Gallery of Modern Art, New Delhi. The front face of sculpture shows a
woman’s head which symbolizes her memories starting from her childhood to
her middle age. The other side which depicts the virgin made whose hand is
folded in bud shape. The third sides show the woman in the company of a
male which perhaps represents her newly married life. Fourth side of the
sculpture is a representation of different feminine aspect of women. The
complete view of the sculpture leaves.