Krishna Arts

(2024-2025)
: Umesh Gupta
UNIT-1
The Rajasthani School of Miniature Painting
Origin and Development:-

Rajasthani School was a continuation of old Indian tradition. This art was developed under the Rajput kings. In
the beginning, this school had Mughal influence, but later it was established as a purely Indian art having no
Mughal influence. Rajasthani School did not originate as miniature, but it was primarily a mural art.
During the attack of Mughals, the whole Rajasthan was affected but Mewar remained safe till the end. So,
Rajasthani School flourished first in Mewar (Udaypur). Later, it flourished in Jaipur, Jodhpur, Bundi, Kishangarh,
Bikaner and other places of Rajasthan. Kishan Singh ruled at Kishangarh. After Kishan Singh, Raja Sawant
Singh’s son Raja Raj Singh ruled Kishangarh and art reached its climax. Raja Sawant Singh was also a very
famous king of Kishangarh. Rajasthan was a place of ‘Raja’ (Kings) or place of ‘States’. That’s why it was known
as Rajasthan.
Rajasthani Art had purely Hindu feelings and had Indian sensibility.
Sub-Schools:-
Mewar:- In the beginning of the 15th century, miniature painting were painted in Mewar area. Its most
developed form can be seen in the paintings of ‘Palam Bhagvat’. There are some other paintings based on the
themes of the painter ‘Sahibdin’ and ‘Manohar’. They painted many immortal great paintings based on
Bhaktiropatras, Panchvyakhyanoropatra, Banbhedropatra and Ragas.
Bundi:- The first miniature painting of Bundi style was painted in Chunar in the form of Ragmala series of
paintings. The art skills of Bundi style are unique due to the conjugation of the Mughal and Deccan art
elements. But, Bundi has a well-practiced hand in portraits.
Jodhpur:- Jodhpur got are tradition in heritage from Mewar. In the beginning of the 17th century, it was known
for Pali Ragmala paintings. Pure indigenous delineation is the stylistic characteristic of these paintings.
Bikaner:- In this sub-school, there is abundance of elements of the Mughal art, because the painters of the
Mughal court came to Bikaner. They implemented customs of Mughal art in the local art. As a result, the new
style of painting came into existence. These painters accepted the tradition of Bikaner style of painting and
kept their inclination towards the paintings of the Hindu myths.
Kishangarh:- Mysterious beauty of women is the life of Kishangarh style of painting. The immortal paintings like
Radha (Bani-Thani) and the painting of King Sawant Singh are the identity of Kishangarh style.
Jaipur:- In Jaipur, this style of miniature painting got patronage in the reign of King Sawai Jai Singh. In Amer,
more paintings have been made on abstract subjects. Live shapes and hunting scenes is the identity of Ajmer-
Sawar. Other centres of this sub-school are Jalor, Jaisalmer and Puskar.
The Main Characteristics or features of Rajasthani School of Miniature Painting :-

 Variety in Themes : There is a great variety in themes of Rajasthani Paintings. Themes are based on
seasons, music, hunting scenes, religious themes like Ramayana, Mahabharata etc., love scenes, ragmala
series etc. In love scenes, Krishna and Radha have been depicted.
 Colour Scheme : The main colours used are the primary colours (red, yellow & blue), green, brown and
white. Other colours in use are golden and silver.
 Costumes : Females are wearing Lehanga and Choli with Transparent Dupatta. Males are wearing turbans
and Jhoba (a group of threads), pyjama and Patka.
 Facial Features : Faces are full of emotions and feelings according to the mood. The faces are in profile,
elongated and oval, the forhead is inclining downwards, long and pointed nose, swelling out lips and
pointed chin.
 Depiction of Women : The women of Kishangarh School are very impressive.
 Lines : The lines are very fine, powerful and rhythmic.
 Depiction of Nature : Nature has also been depicted very beautifully. Different types of trees, floral trees,
mountains, water springs and lakes have been depicted in a very attractive manner.
The Rajasthani Paintings:
Maru-Ragini (Sahibdin):-
Artist : Sahibdin Sub School : Mewar (Udaipur)
Medium : Tempera (Water Colours) on Paper Collection : National Museum, New Delhi
Period : Circa 18th Century A.D.
Subject Matter: Maru-Ragini is a vertical painting from Ragamala series.
Description-1 : In this vertical painting background is yellow but forground is light green. Two escorts are
running along the camel riding couple. A band of sky with blue colour has been also shown. The camel has been
shown with full enthusiasm. One male attendant is leading the camel. A hunting dog is also running ahead of
the two escorts. The sky is deep blue. The dresses of all the figures are flat colour. Camel is well decorated. The
king is holding a flower in his right hand and looking at the queen. In the painting facial expressions are shown
with Rhythmic lines. On the top of the painting Maru Shri Ragini is written.
MARU RAGINI (1)

Description-2 : The love story of Dhola - Maru is very popular in Rajasthan and is narrated both in Murals and
miniature paintings. The composition of the painting is divided into two parts. Dhola and Maru are shown
seated under a yellow canopy with a red curtain in the upper part of the composition. Dhola is dressed in
typical aristocratic attire complete with weapons like sword and shield, facing his lover Maru in Rajasthani
costume. The lower part of the composition shows Maru caressing her pet camel. Both the figures are
prominent against a green background dotted with flower motifs. Stylished motifs of trees are bringing a unity
in the composition.
MARU RAGINI (2)
Chaugan Players (Dana):-

Artist : Dana Sub School : Jodhpur
Subject Matter: Chaugan Players is a horizontal painting in which two princesses are playing Polo with their
four maids.
Description: The princesses are sitting on the back of two different horses in the upper section of the Painting
and are facing each other. While the other four horses in the lower section with the maids are on the running
in opposite direction, but the faces of maids are on the same side where princesses are looking. Figures have
been perfected against red, yellow, ultramarine and orange background. All six Polo sticks are covering the ball.
All ladies have high rounded foreheads, faces are profile. The eyes of ladies are elongated up to their temple.
Their skirts are spread on the horses back like bells in a stylized manner.
The composition is against a flat green background. Colours are very bright. A light green landscape shows
harmonious contrast to the painting. All the dresses are in contemporary Rajput costumes and well
ornamented.
CHAUGAN PLAYERS
Krishna on Swing (Nuruddin):-

Artist : Nuruddin Sub School : Bikaner
Period : Circa 1683 A.D.
Subject Matter: This painting is based on the Rasikapriya of Keshvadasa. The most widely illustrated work of
medieval Hindi poetry. One day Krishna, takes with him on the swing a gopi other than Radha. This behavior of
Krishna offends Radha whose love for Krishna will not tolerate any one in between. On this Radha feels
betrayed and upset.
Description: The painting “Krishna on Swing” is yet another marvelous achievement of this period. The painting
has two panels depicting two different part of scene. On the first part of the panel Krishna is shown sitting on a
swing on the left side of the panel. He is wearing a tiara on his head, his upper part is semi-clothed and there is
white flower garland on his neck. There is a Dupatta hanging from his shoulders, and he is wearing an orange
coloured ‘dhoti’. The blue complexion of his body has been highlighted. The swing has an ornamental border is
hexagonal shape. He has his eyes fixed on Radha who is sitting on terrace. She is wearing traditional but
decorated ‘Ghangra’ and ‘Choli’. They are looking at each other. Her head is covered with a transparent Odhnis
and she is sitting on arced carpet. There is pillow supporting the back of both Radha and Krishna.
In the lower panel, both Radha and Krishna are sitting at different places under a tree in a foreground. An
attendant of Radha is also shown in the painting. She has perhaps brought a message for Krishna. Here again
Krishna is wearing tiara, garland and Dupatta, but his dhoti is of yellow colour. Both Radha and Krishna are
sitting on red carpets supported by pillows. Radha is wearing yellow colored “Ghangra” and “Choli”. The
attendant standing striped Ghangra Choli of light purple colors. Both the Tree and a mound are in the
background. The leaves of the trees are shown clearly in cluster of repeating pattern. Each leaf of the tree
reveals the artist’s delight in rendering details. The mound is drawn in typical Rajasthan style.
KRISHNA ON SWING
Radha [Bani-Thani] (Nihalchand):-

Artist : Nihal Chand Sub School :Kishangarh
Subject Matter: The painting is based on the court dancer of Raja Sawant Singh of Kishangarh named Bani-
Thani. The king was great devotee of Radha and Krishna. He gave the name Bani-Thani to his court dancer.
Description: This is one of the most well known paintings of Rajasthani Art of Kishangarh. Nihal Chand’s
painting Radha which means well turned out. Her face is elongated with high and sloping forehead, pointed
and long nose bulging out well cut lips, and pointed chin, her long black tresses are flowing down from her
shoulders to her waist. Long tapering fingers of her right hand are delicately holding the edge of the
transparent Orhni. In her left hand there are two lotus buds of pink and white colour which she is holding with
her delicate fingers. Orhni is decorated with golden motifs. She is wearing a white pearl necklace around her
neck. The painter was inspired by the poem of Raja Sawant Singh., who describes the beauty of a lady called
“Bani-Thani” in his poem. The beauty of this woman is symbolically used to describe the beauty of Sri Radha.
Her smile is supposedly enigmatic; her eyes reflect the ideal feminine beauty of classic Sanskrit Literature. She
is painted as an ideal of Indian womanhood and can easily be compared to Monalisa supposed to epitomize the
ideal of womanhood.
RADHA (BANI-THANI)
Bharat meets Rama at Chitrakuta (Guman):-

Artist : Guman Sub School : Jaipur
Subject Matter: The Painting depicts a scene from Ramayana, when Bharat comes to Chittrakoot to meet Rama
with his three mothers and Guru Vishwamitra. Various episodes have been shown in a single scene.
Description: This one is a very popular episode of Ramayana, largely known as “Bharat milap”. The painting
depicts the emotional moment when Bharat, the whole incident is taking place at the jungle of Chittrakoot
where Rama stayed for few days. In the background, the use of green colour in different shades is the speciality
of this painting. In the foreground and in front of the huts Rama, Sita and Lakshmana stands out against the
green forest. Behind the hut a grove of lush green banana trees has been painted.
This small painting has about forty nine figures in the centre of the painting. Rama has been shown prostrating
on the ground, touching the feet of his Guru. Lakshmana stand nearby, facing Vishwamitra with folded hands.
At one place Rama is meeting his mother. Some ladies can also be seen in profile standing and sitting. In front
of all we can see a stream of White and Red lotus flower. Colour balance is very good. At this time Mughal
influence had receded and a genuine Jaipur style came into prominence. The artist has created a perfect
atmosphere of hermitage with a small hut and different kinds of plants and trees.
BHARAT MEETS RAMA AT CHITRAKUT

The Pahari School of Miniature Painting

Gular is the supposed to be the place of origin of Pahari School according to different scholars. Some scholars
consider Basohli as the origin place of Pahari School. In 1780 A.D., the ‘Gular Kalam’ was at its peak. Then it
entered Kangra and came to be known as ‘Kangra Kalam’.
Aurangzeb was a cruel Mughal ruler, He hated painting and music. So, most of the Mughal artist went to hill
where they got shelter and there they invented a different new style of painting known as Pahari School of Art.
In the beginning, Pahari School flourished as a folk art, but whenthe Mughal artists got patronage from kings of
that place who were religious-minded, it came to be known as ‘Pahari Kalam’.
Some scholars consider Gular as the place of origin of Pahari School for many different reasons. Firstly, the
kings of Gular had friendly relations with Mughal emperors. There can be the possibility that the artist from
Gular might have shifted to Delhi or the Mughal artists might have shifted to Gular as it was nearer place for
shelter and they might have renewed the folk art Gular by adding some newness to it. Some scholars consider
that due to Aurangzeb’s cruelity, Mughal artist might have shifted to Basohli and according to them, Basohli
which flourished under Raja Kirpal Pal is the origin place of Pahari School.
The oldest Kangra paintings are connected with Gular where Raja Goverdhan Chand and his family have been
depicted. After him Raja Prakash Chand and then Raja Bhoop Singh came into power. Then under Raja Sansar
Chand’s patronage, finest paintings were created. This Raja Sansar Chand’s period is considered to be the
‘Golden Period’ of Kangra School.
Sub-Schools:-
Basohli:- This style came into existence when Mughal emperor Aurangzeb had restricted all the forms of art in
his court. In the middle of 17th century, the court painters moved towards the hilly states. They implemented
technical co-ordination of various elements of the Mughal style into the art forms previously existed there. The
new form of art that came into existence was called Sub-school of Basohli Miniature Painting. Although these
artists were subservient to their patrons, yet they were fully independent in selecting the subject matter. In
their new paintings they included only the specific elements of the Mughal style.
The painters started making paintings on abstract themes of the literary volumes such as Ras-Manjari, the
Ramayana, Geet Govinda and Raagmala.
The paintings of this style are almost square in shape double storied or high-towered buildings have been
shown in the background of these paintings. Hilly environment, river, waterfall, clouds, lotus and other flowers
have been used as ornamental elements in the painting. A peculiar Basohli characteristic seen in miniature is
the use of dark green beetle wings to indicate jewels in ornaments. The sky is shown as a narrow band of blue
and white at top. The miniature is framed in a border of brilliant red colour.
Gular:- Gular is famous for both types of the painting- individual and subjective. It wonderfully inaugurated the
mysteriousness and the beauty of women. The emotional disposition of Gular’s paintings is not seen even in
paintings of the Mughal style.
Extraordinary tenderness in colours, extraordinary execution of work, wonderful thinness in underlining,
emotional delineation and the perspective provide excellence to Guler’s paintings. Fawns, cottony clouds and
emotive nature are characteristics of Gular’s painting.
Kangra:- Miniaturepainting of Kangra are glory of Pahari painting. In these paintings we can feel smell of the
soil of that place. Tenderly engraved features of women are pleasing.
Kangra style was on apex of its excellence in the reign of the king Sansar Chand. His period is considered to be
the Golden Period of Kangra School. The pomp and show of the king’s court has been shown with the medium
of thin lines and colours. The human portrait painted here are natural and beautiful.
Keshav Das’s poetry ‘Rasik Priya’ has been the lovely topic of Kangra style painters. Radha-Krishna has
sometimes been painted as a lover-beloved and the other side as an actor-actress. The painters of this style
have painted the love-stories of Sasi-Punno, Heer-Ranjha and Sohani-Mahiwal and others.
Red, yellow and blue basic colours are placid and decorative. Delineation of beautiful margins, ornaments and
buildings are praiseworthy. Balanced shape of trees and the panoramic, natural scene, magnificence teeming
with the leaves, flowers, shrubs and hills provide speciality for Kangra-styled paintings.
Chamba:- Inordinate bewitching, tender and unusual figures of women give distinct identity to miniature
paintings of Chamba. The painters of this style have prominently showed red and blue colours with the co-
ordination of artistry and technique.
Garhwal:- Garhwal style looks like Guler style. In the paintings painted here shows charmness of colours, clarity
in expression and tenderness of beauty. Systematic paintings and too developed symbolic design is the
speciality of Hindoor (Nalagarh) Art.
The Main Characteristics or features of Pahari School of Miniature Painting :

 Depiction of Women : Faces of women are in profile and are round in shape. Their nose is almost in line
with forehead, eyes are long, narrow and expressive like bows and the chin is sharp.
 Depiction of Line : Rhythmic lines have been depicted which are smooth in nature and are very fine. The
drawings of eyes are very fine and worth praising.
 Colour Scheme : Mostly Primary colours have been used. Some colours like pink, mauve, grey and green
have also been used. Golden colour is used in large scale. Theredcoloured borders have been used having
an influence of Mughal Style.Thecolours are strong and contrasting. In the garments and ornaments, golden
and silver colours have been used. The lightning has been shown through silver colour.
 Garments : Choli,Lehanga and Transparent Odhanis have been worn by women. Male have been shown in
Pyjamas, Turban and Angrakhas.
 Depiction of Nature : Trees, clouds, jungales, mountains, foliagr, rivers, aquatic birds etc. have been
depicted beautifully. The rainy season and lighening effects have been nicely painted.
 Perspective : In spite of having no proper perspective, the Pahari paintings appeal to us.
 Romantic Scenes : Many romantic scenes have been found in Pahari style. Krishna symbolizes ‘God’ (Hero)
and Radha symbolizes ‘Soul’ (Heroine) in many of these painting.
Pahari paintings:
Krishna with Gopis (Manaku):-

Artist : Manaku Sub School :Basohli
Subject Matter: This horizontal painting is an illustration from the ‘Geeta-Govinda’ series by Jayadeva. It deals
with the legends and the plays of Radha and Krishna symbolizing soul’s devotion to God.
Description: The painting ‘Krishna with Gopis’ is based on Jaydwa’s ‘Geeta-Govinda’-painted by famous painter
Manaku. It is supposed that it was painted for a private patron Malini. The painting presents Krishna
surrounded by Gopis singing and dancing on the back of river Yamuna. The composition is in typical Basholi
style with geometrical pattern. The use of bold colour infused vitality in the painting. Krishna is wearing a bright
yellow dress with his upper body naked but ornamented. He is also wearing a crown with jewels and peacock
plumes. There is no use of perspective but colour combination with golden background has been given
sufficient depth to the painting. The clarity of the designs and lines and intensity of felling is achieved by the
use of colour like golden yellow, Vermilion mixed with colour tones of blue and green enhancing the felling of
intensity and the beauty of the painting.
In this painting, the human figures a backward sloping forehead, lotus like large eyes, high nose almost in the
same line of forehead and powerful bodies presented idealistic body symmetry and lent distinction to the
Gopis figure. The shining emerald in the ornaments pieces of iridescent bettle-wings are used in the illustration
of the jewels. Besides the bold colour lustrous enamel like colour is also employed. The figure of women are
shown clad in rich costumers, stylized faces, bulging eyes lend a natural stage like setting for the group. This is
one of the best paintings drawn by Manaku expressing the beauty and brilliance of Basholi style.
KRISHNA WITH GOPIS

Nand, Yashoda and Krishna with Kinsmen going to Vrindavana (Nainsukh):-
Artist : Nainsukh Sub School :Kangra
Period : Circa 1785-1790 A.D.
Subject Matter: This painting is based on the story of Bhagavat Purana showing Nand, Yashoda and Krishna
with Kinsmen in a scene from their journey while migrating from Gokul to Vrindavana. Nand, a chieftain of his
township was advised by his people to shift to Vrindavana close to Goverdhana hill. Kansa’s court was near
Gokul and he was making repeated attempts to harm Krishna. But people wanted to save their future savior
(Krishna) and knew that he was no ordinary human.
Description: This painting depicts a group of people with their cattle and other belonging journeying to
Vrindavana. Nanda is seated on a bullock cart with a dome shaped canopy drawn by two bulls and driven by a
cowherd. On the right side, a cart is carrying baby Krishna. Others accompanying Krishna are possibly Balram,
Yashoda and Rohini, his stepbrother, foster mother and stepmother respectively. Men and women are carrying
their belonging in basket and tied cloth bundles either on their heads or shoulders. A few ladies are carrying
jars, a spinning wheel can also be seen. Their humble lifestyle is portrayed in their half clad bodies and simply
dressed women. The ghagras of the walking women have characteristic horizontal stripes. The landscape in the
background shows a line of trees having intricate details of leaves and trunks carved along the path with two
rocks in a groove and two birds sitting on them. Each face is a careful study of portraiture wherein most of the
faces are ek-chashma, and cows are realistically depicted with distinct size of horns, skin colour and other
anatomical details.
The lines defining the contours are thin and delicate. The painting has a very subtle appeal due to its colours.
They are neither too bright nor too gaudy but still very lively. The sky blue river behind the line of trees, light
ochre of the ground and cattle are in earthy colour whereas the figures are painted in brighter colours.
NAND YASHODA AND KRISHNA WITH KINSMEN GOING TO VRINDAVANA
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UNIT-2
The Mughal School of Miniature Painting

The origin of Mughal School of Painting is considered to be land mark in the history of Painting in India. A new
culture of painting developed under the patronage of the Mughal rulers of Timur dynasty in Bukhara and
Samarkand and it reached its peak during the 15th century. Timur gave due regard and importance to the artist
in his court. Bihzad was the best artist among all the painters of that time. He basically was a Persian artist. He
was known as the ‘Raphael of the East’. He was greatest painter in the court of Sultan Husain Mirza. After the
death of this Sultan, Bihzad took a job in the court of Safavid Shah Ismail. Bihzad basically belonged to Timur
dynasty. Timur dynasty was the origin of Mughal Period.
The first Mughal emperor of India was Babur who was a man of aesthetic sensibilities. His son Humayun
patronized the art of miniature painting and brought a few Persian artists to India. Notable names were Abdus
Samad, Mir Sayyid Ali. It was from these artists that Humayun and his son Akbar took lessons in drawing.
The first major works of Mughal miniature were probably begun under Humayun but was completed under
Akbar. During his period miniature paintings were lively and realistic and even contain of individual portraiture.
This period was known as the ‘Golden Period’ of Mughal Art. In the Akbar’s coutier, the Hindu painters were in
majority but they were to workunder the direction of two Iranian master artists- Mir Saiyad Ali and Abdus
Samad. After Akbar his son Jahangir became the emperor. In his time Mughal paintings achieved its Zenith,
both as decorative art and the nature study. Farukh Baigh, Aqua Raja, Ustad Mansur were main painters in
Jahangir’s studio. Most of the paintings were executed in tempera technique and maximum number of portrait
paintings were painted in Shah Jahan’s period. There were tremendous uses of gold with lot of decoration
keeping the Mughal style. The Awadh School developed a style of its own.
The Main features of Mughal School of Miniature Painting :

 Historical Scenes :During Akbar’s rule, maximum number of historical scenes were made e.g. illustration of
the minuscipt related to historical scene namely ‘Kissa-Amir Hamza’. Mostly historical scenes were painted
during Mughal School.
 Linear beauty :When we look at the portrait of Mughal style, we become familiar with the importance of
beautiful, thin and thick fine lines. The lines are so fine that even the minutest details are clearly visible.
 Border Decoration :All the Mughal paintingsare decorated with borders which are ornamented. In some
paintings, the boeders dominate the painting.
 Profile Faces :Profile Faces is the main feature of the Mughal style. Whether the figures are frontal or in side
pose, the faces are always in profile.
 Garments :The female figures are shown wearing transparent odhanis, while the male figures are shown
wearing Angarakhas and Churidar Pyjamasalongwith decorative turbans. Ornamental decoration stories is seen
in the garments.
 Religious Themes :Depiction of religious themes like The Ramayana, The Mahabharata, The Nala Damyanti
themes and Panchtantra stories is there in the paintings.
 Depiction of Nature :Nature has been depicted so beautifully that even each leaf has been painted
separately. Trees, plants, leaves, rivers, mountains etc. have been depicted gracefully.
 ColourScheme :Mostly natural colours have been beautifully used. Earlier paintings had flat colours, but later
on, depth with the help of shading was shown.
 Calligraphy : Calligraphy was done in black colour in most of the paintings. Artists wrote their names
beautifully also.
 Depiction of Animals and Birds : Ustad Mansoor was the main bird painter. ‘Falcon on a Bird-Rest’ is the one
of his best paintings. Animals and Birds were depicted beautifully in Mughal Paintings. Camel fights, elephant
fights etc. were depicted beautifully. Other animals like goats, horses, tigers, lions etc. were also depicted
gracefully.
The Mughal Paintings:
Krishna lifting mount Govardhana (Miskin): -

Artist : Miskin Medium : Tempera (Water Colours) on Paper
Collection : National Museum, New Delhi Period : Circa 1585-1590 A.D. (Akbar’s Period)
Subject Matter: This painting is based on the story of Lord Krishna. This painting’s theme has been taken from
the ‘Bhagwata Puran’. This painting’s scene is of that time when Krishna once lifted the Govardhana mountain
on his little finger to save the people of Gokul from the wrath of Indra who had let loose heavy rains.
Description: The painting “Krishna lifting mount Govardhana” is an exquisite piece from Akbar’s atelier. It
shows Krishna holding the mount Govardhana on his little finger. The mountain has been made to appear
realistic by painting massive rocks, large trees and innumerable animals like deer’s and monkeys. Shrubs and
grassy pastures are painted between rocky ridges.
The rendering of the mountain shows strong Persian influence. A little bit of sky is visible above the mountain.
Below the mountain, all folks of Braja are gathered along with their cattle to take shelter from the deluge cased
by the angry rain-god, Indra. Blue is the predominant color in this painting. Lord Krishna is painted in his
“Virata-rupa”. He is dressed in usual “Pitambar” and a large garland of white flowers hanging from his lifting
the huge mountain effortlessly. This painting was painted for the manuscript “Harivansh”.
KRISHNA LIFTING MOUNT GOVARDHANA

Falcon on a Bird-Rest (Ustad Mansoor):-
Artist : Ustad Mansoor Medium : Tempera (Water Colours) on Paper
Collection : Maharaja Sawai Man Singh Museum, Jaipur
Period : Circa 1618-1620 A.D. (Jahangir’s Period)
Subject Matter: This is based on Jahangir’s love for birds and animals. He was a keen falconer and treasured
fine specimens of falcons, brought from different places. A superb falcon brought Persia was moulded by a cat
and died. Jahangir asked his painters to paint his precious pet falcon to be preserved in Jahangir Nama.
Description: Mansoor has painted tamed falcon resting on a cushioned bird-rest. The falcon is painted in a
great realistic manner with a refinement of details. The bird is painted in white against the yellow background
which is contrasted with the brownish-black feathers of its folded wings. An isolated figure of the falcon shown
on its perch in rigid profile is centrally positioned in the composition. Black markings all over the wings suggest
that it is in the likeness of the pet-falcon of Jahangir.
The expression of cruelty in its eyes is an item of great astonishment to those who have seen it. The sharp beak
and round vigilant eye are painted in shades of deep yellow ochre. A patch of light blue marks the feather on
the back of its neck. A thin string is tide around the falcon’s neck and hangs loosely to the ground.
FALCON ON A BIRD-REST
Kabir and Raidas (Ustad Faquirullah Khan):-
Artist : Ustad Faquirullah Khan Medium : Tempera (Water Colours) on Paper
Collection : National Museum, New Delhi Period : Circa 1640 A.D. (Shahjahan’s Period)
Subject Matter: This painting belongs to the era of Dara Shikoh who respected all religions equally. This
painting shows two prominent saints of that time- Kabir and Raidas. Dara Shikoh being a muslim has shown
Hindu Saints in the painting. This painting is one of the masterpieces of that time.
Description: The Horizontal painting of Saint Kabir shows him weaving a garment on his loom, in a meditating
mood. The other saint, Raidas sitting close by, is also in the same mood. Both are meditating on a same
religious topic. The painting brings simple and peaceful Indian village life, where work is work ship. The huts of
the saints are in rural Indian villages. The colours used are Brown and light Blue. The border of the painting is
light Brown and shades are very fine.
Dara Shikoh respected both Hindu and Muslim saint. This is the master piece of the paintings painted during
that time.
KABIR AND RAIDAS
Marriage Procession of Dara Shikoh (Haji Madani):-

Artist : Haji Madani Medium : Tempera (Water Colours) on Paper
Collection : National Museum, New Delhi
Period : Circa 1740-1750 A.D. (Provincial Mughal)
Subject Matter: This painting is based on the marriage procession of Dara Shikoh. Marvellous depiction of
various types of fireworks can be seen in the background. Well decorated border is there.
Description:‘Marriage Procession of Dara Shikoh’ is a large painting done on paper in tempera medium. It’s a
picture of the wedding procession of Dara Shikoh, the heir apparent of the Delhi Masnad. The ‘Barat’ is
received by a large gathering of men, women and young boys of bride’s party. There are lights of fire-works,
candle and torches illuminating the whole scene with brilliant light and showing the clapping and singing crowd
of the bride’s relatives. Most of the distinguished people of the ‘Barat’ are on horse-back including Emperor
Shahjahan himself who has a halo round his head. Prince Dara Shikoh is leading the procession himself. He is
wearing a brocaded angrakha and veil of pearls. The brides’ relatives are dressed in brilliantly coloured cloths
decorated with golden colours. Dara Shikoh and his father Emperor Shahjahan are painted in profile so are
most of the bridegroom’s processing only a few figures are in the three-quarter profile. The women accompany
the Barat are shown riding on elephant in the far distance near the horizon. The bride’s relatives receiving the
guests are wearing multi coloured dresses with golden brocading. In front of the bridal reception party, a boy is
seen dancing abandon with the beat of drums.
MARRIAGE PROCESSION OF DARA SHIKOH

The Deccan School of Miniature Painting

The Deccan (Deccani) School of Miniature Painting had its beginning in 1560 A.D. When Mughal School had its
existence, the Deccani School was already in existence. When the Mughal Emperor Aurangzeb threw out
Mughal artists from Mughal Empire, several artists migrated to Deccan and sought patronage there. The
Mughal influence entered Deccan (16th and 17th centuries) were Ahmednagar, Bijapur and Golconda. In the
Mughal style started developing in Deccan, but later in the 17 th and 18th centuries, Mughal influence on
Deccani paintings increased a lot.
So, the Deccani paintings developed and flourished in Ahmednagar, Bijapur and Golconda and also in other
centres of Deccan like Hyderabad and Tanjore. A surprising large portion of the surviving masterpieces of
Indian Painting was produced for the mysterious Sultans who ruled the Deccan.
With dramatic intensity typical of the Deccan, the artist has recorded the vigorous poses and forward thrust of
a moving crowd. Sometimes the Mughal artist for all his familiarity with Western Painting represented a group
of people and wars of densely packed bodies.
Although little is known about the history or civilization of Deccan, it has now become clear that at least the
kingdoms-Ahmednagar, Bijapur and Golconda produced paintings of astonishing quality. By the mid 17 th
century, Deccani painting particularly at Golconda was rising to dazzling new heights.
So the origin and development of Deccani School of art has left a special landmark in the history of art.
The Main features of Deccan School of Miniature Painting :

 ColourScheme : Brilliant and beautiful colours have been used in Deccani paintings. They are different from
the colour of Northern painting style. Golden colour has been used largely in the paintings where
architecture is shown and also in the costumes, jewellery, utensils etc.
 Persian Influence : High horizon, lavish use of golden colour, the landcape, golden sky, some flowering
plans and arabesques on the top of the throne etc. all have apaersian influence on them.
 Mughal Influence : In the later phase Deccani style, Mughal influence was at its peak. Mughal influence was
due to migration of several Mughal painters to the Deccan during downfall of Mughal School of Painting.
 Decorative Paintings :Deccani paintings were mostly decorative especially Hyderabad painting like the
flowerbeds, costumes, rich and brilliant colours, facial features etc.
 Bold Drawing and Shading Techniques : Bold drawing, shading techniques and use of rich, pure and
brilliant colours flourished at Tanjore.
The Deccan Paintings:
Hazrat Nizamuddin Auliya and Amir Khusro:-

Artist : Unknown Sub School : Hyderabad
Period : Circa 1750-1770 A.D.
Subject Matter: This painting is based on the discussion between Hazrat Nizamuddin Auliya and Amir Khusro
on a religious subject. Amir Khusro was the student of Nizamuddin Auliya.
Description: In foreground Hazrat Nizamuddin Auliya and Amir Khusro are sitting on roof and discuss on a
religious subject. The roof has orange carpet. Both are wearing Muslim dress. Amir Khusro has a red
colourmusical instrument in his hand. Amir Khusro’s dress is of brown and green colour, decorated with
embroidery. Same way Hazrat Nizamuddin Auliya shown with green dress. Both have different types of turban
on heads. Amir Khusro’s turban is like Muslim, while Hazrat Auliya’s turban is round with red and green colour.
Hazrat Auliya’s head has a yellow colour ring at the back which gives orange rays. A big white beard is Hazrat
Auliya’s and Amir Khusro’s beard is black. In front of them, there are two gardens which are having two steps
going up to the roo f. on the roof, there are red wooden grills.
In the background, we can see the plants of flowers. Right back of Hazrat Nizamuddin Auliya is a big tree of
brown colour which is full of green leaves and yellow, orange flowers. Background is of light and dark blue
colour. In some places we can see violet colour also. Both faces are in profile. In the centre, a white coloured
lamp is there. Hazrat Auliya has a red colour book and a book stand of brown colour can also be seen. Full
painting is religious.
HAZRAT NIZAMUDDIN AULIYA AND AMIR KHUSRO

Chand Bibi Playing Polo:-
Artist : Unknown Sub School : Golconda
Subject Matter: This painting is much later work of 18th century A.D. Impact of Persian delicacy is evident in the
way it is painted. This painting depicts the interest of the royal women of that time in the field of sports.
Description: In the painting ‘Chand Bibi Playing Polo’ Chand Bibi is playing polo with three other maids. All the
four are sitting on horse-back. All the four horses are drawn in four different colours, i.e., red, yellow, white
and blue. There is another figure on the ground, who is perhaps directing the game. Two players are trying to
passes the ball with their polo sticks. All the figures are centrally located. Hoops of the horses are uplifted.
Horses are properly decorated; they are shown in full dynamic movement. They are shown as stout and sturdy.
The heads of all the five female figures are covered with head-dresses. The polo ground is uneven, painted in
green colour and reflect vivid influence of Persian style.
The costumes of the horse riders are richly decorated in bright colour in Mughal style. They are wearing
multicolouredGhagra and Choli. Rider on the white horse has bent on horses back to posses the polo ball.
In the foreground, a pond with flowers and six water-birds in semi-circle formation has been painted. The
flowers are of red, blue and white colours.
In the background, the sky has been painted in deep blue with a moon. There is a fort near the horizon with
trees in dark colour here and there.
CHAND BIBI PLAYING POLO

*******
UNIT-3
The Bengal School of Painting
National Flag of India and the Symbolic Significance of its forms and the Colours:
One of the few insignias which no nation however radical can do without is its National Flag-its identity and
mark of pride. Political rivalries and dynasties might die off in course of time but the National Flag lives on
through generations fluttering high.
The evolution of the Indian Flag, the tri-colour reflects the political development of the country during the 20th
century. The building up of the National Flag as recorded in history was final outcome of various political trends,
communal tensions and waves of mass enthusiasm.
The first Indian National Flag was hoisted on August 7, 1906 in the Parsee Bagan Square (Green Park) in Culcutta
(now Kolkata). The flag was composed to three horizontal strips of Red, Yellow and Green. In the top strip, 8
white lotuses have been shown, in the Yellow central strip ‘Vande Mataram’ in Hindi is written in dark Blue
colour and in the bottom strip, a half moon in White is shown at the left side and a White sun of the right side.
The second Indian National Flag was hoisted in Paris by Madame Cama and her band of exiled revolutionaries in
1907. The flag was composed of three horizontal strips of Red, Yellow and Green. The top Red colour strip had
eight white lotuses embossed on it in a row. The middle Yellow strip had the words ‘Vande Mataram’ in dark
Blue colour in Devanagari. The third and last strip of Green colour had a White sun on the left and a White
crescen moon with a star on the right side.
The third Indian National Flag went up in 1917 when our political struggle had taken a definite turn. Dr. Annie
Besant (British socialist) and Lokmanya Bal Gangadhar Tilak (Indian nationalist) hoisted it during the Home rule
movement. This flag had five Red and four Green horizontal strips arranged alternately, with seven stars in the
Saptarishi configuration super imposed on them. In the left hand top corner was the Union Jack. There was also
a white crescent and star in one corner.
The fourth Indian National Flag was made in 1921. During the session of All India Congress Committee which
met at Bezwada (Vijayawada) in 1921, an Andhra youth prepared a flag and took it to Gandhiji. It was made up
of two colour- Red and Green representing the two major communities i.e. Hindus and Muslims. Gandhiji
suggested the addition of a White strip to represent the remaining communities of India and spinning wheel to
symbolize progress of the Nation.
Under the leadership of M.K. Gandhi, another tricolor flag was prepared in 1931 during the All India Congress
meeting at Bezwada. An Andhra youth brought two coloured flag to M.K. Gandhi, which was of Red and Green
representing the two major communities. Gandhiji suggested the addition of a White strip to represent the rest
of Indian communities and the Charkha, a symbol of progress on the White strip in the centre.
On July 22, 1947, A new flag of free India’s National Flag was hoisted which was adopted by the Constituent
Assembly. The tricolor flag’s significance remains the same. Dharma Chakra of emperor Ashoka with 24 spokes
was adopted instead of the Charkha.
The significances of the colours are as follows: -

Saffron - Courage and sacrifice.
White - Truth and peace.
Green - Faith and chivalry.
Ashokan-wheel - The dynamism of a peaceful change. (Work for 24 hours)
24 spokes in Ashokan-wheel - 24 Hours in each day.
Navy Blue (Dharma Chakra) - Secularism, Trust and Truthfulness.
Introduction to the Bengal School of Painting:
Long colonial empire harmed a lot to the Indian painting and pledged relating to that. European painters and
critics through their well-being even in exposing their art and their specialties. For that Indian painters caused to
give this belief that there was no excellence in traditional art developed in India. In the beginning of 20th
century, many young Indians, who were in favour of English language and European life-style, unreasonably for
their selfishness, were not only supporting the mispublicity being done by the English but also seemed
evaluating of any success on European standards or parameters.
Even the rulers and feudal chieftains of small estates seemed not only praising the European culture but also
feeling themselves glorified in adopting and assimilating that and whenever and wherever could be possible,
especially in front of British rulers, started to understand their glory in insulting the Indian culture and its
traditional values and to avoid them. In that age, vehemence and ostentation had increased to such an extent
that some influential Indians, meeting with European artists, started painting the Indian goddesses and gods
and heroes in European style as if they were their friends. Sometimes they painted Lord Shiva wearing European
clothes and sometimes showed Lord Krishna driving a phaeton. They were of the opinion that there was nothing
specific in Indian works of art of painting and sculpture except sexuality or libidinousness and exciting emotions.
In those circumstances of being in distress, Raja Ravi Verma and Abanindranath Tagore, with their own efforts,
glorified the Indian Art and produced new feelings in the Indians with the idea of creativeness so that the self-
respect of the Indian Art did the task of Renaissance.

Indian art stood at the crossroad after the decline of Mughal Empire, and the beginning of the British colonial
rule after the mutiny of 1857. By the end of the century, the smaller feudal states where art survived for
sometime were annexed one by the British rulers. Indian painting reached almost a dead end. The British ruler
in the mean time had set-up art schools at Bombay, Madras (1850) and Calcutta (1854), and by systematic
propaganda successfully persuaded the educated Indians to believe that Indians had no cultural heritage of
their own.
At this point of our identity crisis, there came some highly gifted artists who tried in their own way to give a
sense of direction to the art movement of the country and created confidence in the traditional values and rich
heritage of Indian Art and made theIndians conscious of the fact. Their efforts included Raja Ravi Varma,
Abanindranath Tagore, Gaganendranath Tagore, Rabindranath Tagore, Nandlal Bose and Jamini Roy and ably
supported by E.B. Havell, the principal of Government Art School at Calcutta.
This Enthused the Indian artists to turn for inspiration to true native tradition. A group of Bengal artists gave
birth to a new painting style based on old Indian traditional paintings of Ajanta, Bagh, Rajput and Mughal art.
They created a sort of new renaissance under the guidance and leadership of Abanindranath Tagore.
Thus under the influence of Principal E.B. Havell and Abanindranath, Indian artists looked back the traditional
painting of Indian with respect and got themselves separated from the blind copying of the lifeless western
realism. Thus was born the Bengal School of which is more a style than a regional development, is the first
school representing important art movement in modern India.
During this period all types of painting, religious, social and historical events, birds, animals and landscapes
were painted in this style.
The Main features of Bengal School of Painting :
 Based on Indian Traditions : The Bengal School is fully based on the Indian traditional style as the subject
matter of this school is based on Indian culture. The paintings based on Indian theme like ‘Mahakali, ‘Shiva
Parwati’Krishna and Gopis etc. prove the Bengal School’s Indian mentality.
 Influence of Ajanta Paintings : Bengal school is influenced from Ajanta Art. The qualities of Ajanta Art like
rhythm, grace, harmony etc. are visible in Bengal School.
 Linear Delicacy : The lines of Bengal School resemble the Ajanta Paintings. Lines are delicate and rhythmic.
 Softness and Rhythm in Figures :The figures of Bengal School give soft effect and no hardness is there. They
are graceful and have delicacy. They are rhythmic and provide pleasant experience to eyes.
 Beautiful ColourScheme :The colours of Bengal School are very attractive. Wash technique is used and
colours are not bright and gaudy at all.
 Influence of Mughal and Rajasthani Schools :Mughal and Rajasthani Schools’ influence can also be seen at
some places.
 Light and Shade :The softness in the paintings of Bengal School is due to its quality of brilliant light and
shade.
 Impressive and Indian Subject Matter :The subject matter of Bengal School is very impressive and Indian in
character. Themes used are historical, religious, literary etc.
Appreciation of the following paintings of the Bengal school:
Journy’s End (Abanindranath Tagore):-

Artist : Abanindranath Tagore Period : Circa 1937 A.D.
Medium : Tempera and Wash (Water Colours) on Paper
Collection : National Gallery of Modern Art, New Delhi
Subject Matter: In this painting shows a tired and overloaded camel on the edge of death. In fact, the artist is
showing a reflection of human life through this piece of art work.
Description: The painting ‘Journey’s End’ was first published in the Bengali magazine ‘Prabasi’ and drew acclaim
from the viewers as a great piece of art. The pain and suffering of a dumb beast of burden moved the painter so
much that the pain he felt can be clearly seen in the half open eye of the beast. The picture is painted in the
new technique which he evolved with the fusion of tempera technique of miniature painting and wash, the
Japanese technique.
Red, brown and yellow wash colours give the background and the sky is filled with the diffused light of sunset.
The foreground is painted in the darker tones of the same colour to intensify the sense of pain. There is a tint of
blue where the animal is about to collapse. A massive load on the camel’s back shows the greed of the master in
exploiting the slaves to their last breath. No one is there to watch the thin stream of blood oozing out of its
mouth. The weight he has been carrying all his life for his master is still enacted on his back so that it is not
damaged. He has yet not given up hope of standing once more to deliver the goods to his master which he is
given to carry. He is on his knees with his back legs upright and his head slightly raised as if he would make
another attempt to get up.
His life’s journey is about to come to an end with the end of the day. The painting is suffused with a romantic
sentiment yet it evokes pity and sympathy from the viewers.
[Abanindranath Tagore (1871-1951 A.D.): Abanindranath Tagore was born on August 7, 1871 in a famous
Tagore family at ‘Jodasanko’ in Calcutta (Kolkata). He was dedicated to art like his grandfather, father and elder
brother.
It was the time when both the Indian Art and tradition were declining due to mispropaganda of the Britishers.
But Abanindranath developed a new style with the co-ordination between Indian tradition and European
realism. Resulting that it was recognized as Modern Indian Style of Painting.
Famous painting of Abanindranath are- Bharat Mata, Ganesh Janani, Birth of Buddha, Buddha and Sujata
Tisyarakshita, Taj Mahal, Death of Shahjahan, The Evening Life and Fog and Evening.
Through the painting named Journey’s End, he has tried to awaken human sensations as mercy and sympathy, in
the mind of the spectators, towards their pets.]
JOURNEY’S END
Shiva and Sati (Nandlal Bose):-

Artist : Nandlal Bose Period : Circa 1947 A.D.
Medium : Tempera (Water/Sepia Colours) on Paper
Subject Matter: In this painting Lord Shiva is shown seated and carrying goddess Sati in his arms and the scene
is related to one of the main episodes of Shiva and Sati. Here Sati is dead. The subject matter is totally matches
the title.
Description: This monochromatic painting seems to be inspired from Ajanta paintings. A halo is shown around
the head of Shiva for representing him as God. Expressions are very good. The shades of light in white colour
have been depicted on foreheads of both figures and also on body of Shiva. The painting has been made in
brownish monochromatic effects. The effects of clouds in the foreground are very impressive. The background
is quite attractive.
Sati has sacrificed her life for the sake of her husband Shiva’s self respect. Sati’s father Daksha who was against
their marriage spoke abusive words for Shiva in the great party (Yajna). So, Sati ended her life through her
intrinsic power by burning her body through fire. So, in this painting, Shiva is carrying Sati in his arms. He is in
sitting pose. It is one of the best paintings of Nandlal Bose.
[Nandlal Bose (1882-1966 A.D.): Nandlal Bose wasborn at Munger (Kharagpur) on December 3, 1882. While
studying at Art College, Kolkata, he was introduced to the Vice-Principal, Abanindranath Tagore and there he
learnt tricks or short formulae of modern Bengal paintings. With the co-operation of Abanindranath, to assist
English mural painter Lady Herringham, he was sent to prepare the facsimiles of the Ajanta and the Bagh Cave.
In this way he got an opportunity to come into contact with the excellent paintings of Indian Art. From this very
place came wide maturity and changes in his style.
Among his famous paintings are- Sati, Shiva Drinking Poison, Parthsarthi, Returning of Buddha, Swarnkalash,
Shivlok, Sujata, Uma, Veenavadini, Ardhnarishar, Vriksharopan, Shiva and Sati, Mother and Child etc. His linocut
made on Dandi March is very famous.
In 1920, he was appointed as the Principal of ‘Kala Bhawan’. Several universities honoured him with particular
titles. In 1961, the Government of India honoured him with embellishment of ‘Padma Bhushan.’]
SHIVA AND SATI

Radhika (M.A.R. Chughtai):-
Artist : M.A.R. Chughtai Period : Circa 1940 A.D.
Subject Matter: This painting is based on a typical Indian young girl in standing pose going out of her room. She
is feeling shy. This painting belongs to Hindu religion.
Description: The painting ‘Radhika’ is also drawn in profile. In all his works he has painted Radhika as delicate
and love lorn. Postures have also been made romantic. She is delicately holding two lotuses in both of her
hands. She is wearing a light colourGhagra, a red color Choli and a yellow colour Dupatta in typical Indian style.
Her braided of black tresses is flowing down her back. Her down-cast eye is unique in exaggerated arch of
eyebrow. Ornaments that Radhika is wearing are impression of Radhika being delicate, flexible and graceful.
There is a lamp with a stand in the left side of the painting in Mughal manner. The lamp is decorated one with
the wick in yellow and red colours, it presents a realistic image of the lamp. The light of the lamp has
illuminated Radhika and has given a touch of divinity.
The background is painted in a perfect blending of black, red and yellow colours creating a vivid expanse of
bright colours in uniform the tonal gradation.
The brightness illuminated by the burning lamp is yet another remarkable achievement of the artist. He has also
highlighted minute details of the costumes worn by Radhika. Each fold of the drapery has been created with
excellent success. The lotuses that she holds in each hand shows symbolic representation of a delicacy.
The honey- bee sitting on the lotus of Radhika’s left hand is centrally composed in respect of the totality of the
panting, which symbolizes the presence of Krishna.
[M.A.R. Chughtai (1897-1975 A.D.): Mohammad Abdur Rehman Chughtai was born in Lahore in 1897 A.D. His
ancestor had performed an important role in preparing outline of the Mughal period’s world famous building as
the Taj Mahal, the Red Fort and Jama Masjid. Chughtai, by dint of his will-to-power, had learnt the qualities of
the world-standard painting. He felt the European style lifeless and therefore, he, after coming back to India,
learnt Japanese wash technique he tried to develop romanticism in his paintings. On the one hand, the subject-
matter them of his paintings was based on Hindu mythics. On the other hand, that was based on the poetry of
Mirza Galib, Iqbal and Umar Khaiyyam. He used to exhibit his paintings in London, Paris, Berlin and Philadelphia.
Due to that, he remained getting the occasions of meeting with the world-famous painters and consequently
remained developing into maturity. After the partition of the country, he went and settled in Lahore.]
RADHIKA
Meghdoot (Ram Gopal Vijayvargiya):-
Artist : Ram Gopal Vijayvargiya Period : Circa 1940 A.D.
Subject Matter: This painting is based on the relationship between nature and human being which is along
familiarity.
Description: This is one of the paintings of Meghdoot series. With the excellent co-ordination of colour this
painting has been delineated in artistic style .Riding on flying white cottony clouds, with special rhythmicity, in
the blue sky, lovelorn Yaksha and Yakshini have been shown whit real colour-scheme. Yaksha’s curly hair, in ears
earrings made of pearls, a pearl necklace on the throat, excellent body structure, smile on face, feeling of
tenderness in hands and fingers, taking a lotus flower in his right hand, clothes embellished with the vivid
shades of yellow colour and in them (clothes) rhythm city of various thin-coloured line, all these enchant the
mind of the viewer. Yaksha sitting sticking by his back and her right hand has been shown putting on Yaksha’s
chest in such a way as if two lovers are embraced. Yakshini’s hairs have been shown tied with the white
flowered plait or band. On her throat is a beautiful necklace on pearls. She is covering her breast with a pink-
coloured cloth and below the loin is wearing a lustrous yellow cloth on which have been shown crumps. On her
legs smile lips is seen obviously.
The colour of the sky has been shown blue in upper side and down near the clouds becoming light. Four white
birds have been shown flying in the foreground. This picture composed with the wash and tempera technique in
Bengal style together with the feelings of tenderness is an excellent co-ordination of charming and pleasing
colours.
[Ram Gopal Vijayvargiya: Ram Gopal Vijayvargiya was born at a small village in district Swai Madhopur in
Rajasthan in 1905. He received Art and Craft under the supervision of Shaiendranath Dey. Ram Gopal
Vijayvargiya worked as Principal, Rajasthan School of Arts & Craft Society, Calcutta (Kolkata) and thereafter
many one-man shows in major cities of India. In 1984 the Government of India honoured him with the title of
‘Padma Shree’. He is also known as a poet and a writer. He had published ‘Vijayvargiya Picture Album’ in 1934
and ‘MeghdootChitravali’ in 1945.]
MEGHDOOT
Contribution of Indian Artists in the struggle for National Freedom Movement:
As the glorious tradition of Indian classical art was about to be wiped the advent of the Muslim rule in the
middle ages, in the same way Indian classical art of Rajasthani, Mughal and Pahari miniature painting was about
to meet the same fate with the establishment of British rule after the mutiny of 1857. The systematic
propaganda by scholars like Lord Macaulay, an important member of the British Government, who drew up the
syllabus for Indian schools and framed Indian penal code, and then the principals of the art and craft school of
Bombay, Madras and Lahore and even established painters of the status of Burn-Jones and Jeshua Reynolds
were of the view that India had no worthwhile traditional fine arts and Indians were incapable of learning it.
They did their best to establish the superiority of Western art and culture over the Indians. The newly English
educated young men in those days around 4850-1900 sneered at anything Indian and learnt to look at the
pantheon of Indian Goddesses as near monsters.
The average Indians whose lives were inextricably connected with artistic painting and floral decoration as
essential part of cultural and religious celebration were totally confused and suffered from the sense of
inferiority in comparison to the Western educated person.
It was at this juncture that a few extraordinarily gifted artists and painters like Raja Ravi Verma, Abanindranath
Tagore, Gaganendranath Tagore, Nandlal Bose, Asit Kumar Haldar, Kshitindranath Mazumdar, Abdul Rehman
Chughtai, Samanendranath Gupta ably assisted by Principal E.B.Havell of Calcutta Art School came out with
their excellent art work to establish once for all, the superiority of Indian art over rigid lifeless western painting,
the British founded schools elsewhere in India like Bombay, Madras and Lahore were producing. The great
artists gave a tremendous moral boost to the Indian Nationalist movement which started in 1905 against the
partition of Bengal.
Indian Society of Oriental Art was established in 1907 with renowned people and art lovers of Bengal. The
society held art exhibition every year.
The caricature entitled ‘Peace declared in the Punjab’- by Gaganendranath made on the massacre of Jalianwala
Bagh in 1921 brought out the barbarous naked cruelty of the British rulers and hardened the hatred of the
Indian people against the British.
Nandalal’s ‘Sati’, ‘The death of Sati’, ‘Ahalya’s release from her curse’, ‘Agnidevata’ won acclaim throughout
India which revived the traditional culture.
All these helped the people regain their national identity and gave a boost to the national ‘Swadeshi’ movement
for freedom. Indians lost the sense of rootless alien entity which is the greatest stumbling block to prosperity
and self reliance for a nation, wrote Rabindranath Tagore.
The panels on Indian folk art and Indian life in 1937 for Haripura Congress by Nandalal Bose gave a great boost
to this sense of Indians to the people.
The Modern Trends in Indian Art:

Introduction: Indian art during the period 1900-1925 came to be dominated by the Bengal School but the
revivalists failed to strike any permanency because of the lack of originality. They will be remembered for their
effort to revive the classical Indian tradition based on epic and mythology through their paintings. But they
lacked the social consciousness of the classical times of Indian history and indifferent to cotemporary Indian
values. Abanindranath and Nandlal will be remembered as pioneer of a movement which failed. The artists after
1925 refused slavish imitation of the mannerism of the art of the past. They felt that such imitation shackle the
imagination of the artists and not liberate it. Such art remained only and illustrative art unable to express the
intensity of the times.
Gaganendranath though a contemporary, tried cubistic painting influenced by European cubism. Rabindranath
in his painting tried expressionism.
A host of other artists like Nirod Mayumdar, Rathin Maitra, Gopal Ghosh, Paritosh Sen attempted a change in
their outlook on art.
Figurative drawing has been replaced by abstract painting trying to search beauty in formlessness. Somnath
Hore, Jyoti Bhatt, Anupam Sud brought variety in Modern Indian Art by their graphic prints.
Appreciation of the following Contemporary (Modern) Indian Art:
Paintingsof Contemporary (Modern) Indian Artist:

Rama Vanquishing the Pride of the Ocean (Raja Ravi Verma):-
Artist : Raja Ravi Verma Period : Circa Late 19th Century A.D.
Medium : Oil colours on Canvas
Collection :Chitrashala, mysore, Karnataka
Subject Matter: This painting is based on an episode of Valmiki’s Ramayana. After preparing his forces for
invading Lanka to recover Sita, Rama was held up by the sea, and his army was separated from Lanka. Attempts
to build a bridge were failed by the angry ocean. Rama threatened Varuna (The God of Ocean) that he would
destroy him if he didn’t allow the bridge to be built. Only then his forces could cross the ocean to reach Lanka.
Description: The theme of Rama vanquishing the pride of the ocean has been taken from Valmiki’s Ramayan, in
which Sri Rama has been shown vanquishing the pride of the ocean. In one of the topics of the Ramayana, Sri
Rama, together with his monkey-army, prepares to go to Sri Lanka so that Sita could be got released from the
clutches of Ravana. But the huge ocean has blocked their way. Sri Rama requests the ocean to give them way
but the ocean does not budge even an inch. Sri Rama, being angered, takes up his bow and warns the ocean to
eradicate that.
Raja Ravi Varma’s artist mind gives shape to that moment-Sri Rama has been shown on a rock of the shore near
ocean, in angry mood holding a bow in his left hand and an arrow in right hand. His clothes give the feeling of
blowing the air.
The waves advancing very swiftly from the ocean towards the shore, striking off the rocks seem to be dispersing
like white milk; whereas in middle of the distant waves have been shown three human figures, in the middle the
big shape is of Varuna (The God of Ocean) who has shown lifting both his hands up requesting Sri Rama not to
do so, while two small shapes are of the gods of acquatic creatures who are frightened and are entreating Sri
Rama for forgiveness of their creatures.
In background, a bright flash of lightning has been shown in the middle of the sky. The sky has been shown with
the blend of dark colours. In this painting, the placidity of colours and rhythmicity in linear delineation is
capable to attract attention of anyone. The painting manifests the effect of light and shadow, the qualities of
European style of art.
[Raja Ravi Verma(1848-1906 A.D.): Raja Ravi Verma was born in Kilimanoor Palace as the son of
UmambaThampuratti and EzhumavilNeelkandanBhattathiripad. At the age of seven years he started drawin on
the palace walls using charcoal. In his family, art practice was a way of life. His uncle Raja Raja Verma painted
on ivory. His sister Manglabai was also an acknowledged painter. They noticed the talent of the child and gave
preliminary lessons on painting. At the age of 14, Ayilyam Thirunal Maharaja took him to Travancore Palace and
he was taught water painting by the palace painter Rama Swamy Naidu. After 3 year Theodor Jenson and Frank
Brooks a British painter taught him oil painting. In 1873 he won the First Prize at the madras Painting Exhibition.
He became a world famous Indian painter after winning in 1873 Vienna Exhibition.]
RAMA VANQUISHING THE PRIDE OF OCEAN
Mother and Child (Jamini Roy):-

Artist : Jamini Roy Period : Circa 1930 A.D.
Medium : Tempera (Water Colours) on Paper
Subject Matter: This painting depicts a mother holding her child. The subject matter matches totally with the
title of the painting.
Description: This is one of the famous paintings immortalizing motherhood by Jamini Roy. The painting
symbolizes a soothing calm and tranquility common to eastern philosophy. There is no hint of storm and stress
of modern life giving an effect that both the mother and child have found fulfillment in each other. This gives
the painting a quality of timelessness.
Here in this painting the artist has limited himself to the bare unadorned basic line drawing that goes to the root
of painting. He has stripped his work of all superfluous adornment and made the painted lines of curves and
ellipses come alive with a statuesque quality. The contour lines brought out the figure with clarity and the dip
and the swell of the curves trace the figure with the perfect pose. The molding of the volume of the figure
through tonal gradation is sensitive. The large eyes and the oval face radiate physical coolness and complete
peace undisturbed by any stress of modern life. The look and easy rhythmic contour lines all reveala
ruralsimplicity of a mother who finds the fulfillment of life in her son. The figures are arranged in a single frontal
plane and there is no suggestion of a foreground and background.
[Jamini Roy (1887-1972): Jamini Roy was born in April, 1887 in a petty landowning family at Beliatore, an
obscure village in the district of Bankura in West-Bengal. The richness and culture of village life contributed
greatly to the culture development of his later life.
He joined the Calcutta Art School in 1903 where the discipline of formal training helped him to gain technique
and maturity. From 1925 he started painting in the style of the ‘Patuas’ of Kalighat.
His paintings won international fame after exhibition in London in 1946 and the other in New York in 1953. He
was a lone traveler and art to him was a mission.]
MOTHER AND CHILD
Haldi Grinders (Amrita Sher Gil):-

Artist : Amrita Sher Gil Period : Circa 1940 A.D.
Medium : Oil colours on Canvas
Subject Matter: This painting is painted with very simplified subject matter, and is filled with weak, yet
commanding the ordinary females with depth, strong sense of dignity and massive power on their livelihood.
Description: Amrita Sher Gil painted this idyllic rural scene in 1940. The focus of this Amrita’s painting is
intended for a showcase on the burden life of women in India. Her uses of bright, saturated pigments are
particularly marked in the painting.
Here in this painting three women are portrayed in the centre of picture plane with yellow, white and red saris,
placed within the background of nature. A dark black and brown portrayal of a woman behind the tree, seem to
be in rest mood also catch the eyes of the views.
Bright colouring on the dress against blurred and faint brown background with two massive trees provides an
immense stress on the viewers.
Amrita Sher Gil completed this painting with very simplified subject matter, and is filled with weak, yet
commanding the ordinary females with depth, strong sense of dignity and massive power on their livelihood.
[Amrita Sher Gil (1913-1941): Amrita Sher Gil was born in Budapest, Hungary in January 30, 1913 of a
Hungarian mother and a scholarly Indian father of a Shikh Royal family. The family returned to India after the
1st World War in 1921. She was educated and as she showed an uncommon talent in art, she was sent to ‘Ecole
nationale’ the famous art school in France. Through her academic training she acquired a high degree of
proficiency in oil.
After spending about six year in Europe, she longed to come back to India. From 1935 onward after she came
back to India till her death at the age of 28, in December 5, 1941, she produced about 40 paintings in oil which
are considered as masterly creations of Amrita Sher Gil.]
HALDI GRINDERS
Mother Teresa (M.F. Hussain):-
Artist : M.F. Hussain Period : Circa 1979 A.D.
Medium : Oil and acrylic colours on Canvas
Subject Matter: This is one of the paintings from Mother Teresa series by the artist. In his own words, ‘She was
the modern Madonna, who embraced the poor and the destitute as her own, for me she is a timeless figure, I
will never get tired of painting her.’
Description: M.F.Hussain began the series Mother Teresa in 1979. The paintings are done in different medium
like oil, acrylic etc. The most distinctive feature of those paintings is that, a white Saree with a blue border is
draped around her forehead and flows round her body like the Byzantine draperies in the Catholic Churches.
Husain himself admits that he got the idea of draping Mother Teresa’s head with white Saree having a blue
boarder from the play of light colour from the stained glass paintings of the Byzantine Churches and Cathedrals
he had visited. It defines the outlines of her face and covers her head but the face is always a featureless dark
un-illuminated area on the canvas. The Saree with the blue border is symbolic uniform of the orphanage and
establish her universal motherhood. Her two hands are shown as holding a baby while her broad expanse of the
Saree shelters two other homeless children sleeping peacefully. The darkened face also suggests the negation of
ego that must be an attribute of this profoundly selfless person It is also indicative of Husain’s deliberate
intention to avoid cheap sentimentality.
The left extended palm is to assure the needy to have no fear while the right palm is so placed as to hold the
orphan firmly to her body.
The painting is an ovation from the painter to the universal motherhood.
[M.F. Hussain (1915-2011 A.D.): Maqbool fidahussain was born at Pandherpur in Madhya Pradesh on
September 17, 1915. He got primary education in Indore. He got admission in J.J. School of Art, Bombay (now
Mumbai), but, struck of adversity, he had to leave that. For livelihood he had to do painting of the posters
relating to cinema. The painting name ‘Sunehare Sansar’ was exhibited by the Bombay Art Society, Bombay in
1947. After that his works were exhibited in series. To that he got international fame.
In the beginning, he was inclined to Basohli style of painting s. Therefore, he used to use bright and glittering
contrasted colours in his paintings. The painting series based on the Ramayana and the Mahabharata are world-
famous.
M.F. Hussain expessed violence, injustice anddejection in his many paintings. In ‘Mother Teresa’ he has revealed
love, hope and pity; whereas the series based on the British regime expresses sarcastic knowledge.
He made some famous pictures based on the Gulf War, as-The Theatre of the absurd and splash front page etc.
The effect of European painters like Picasso, Juan Gris and layer is seen in Hussain’s paintings. In this way
Hussain is not related to single style. Though his style is contemporary, yet his art is deeply rooted with the past.
Nevertheless, the themes or thought and the style are contemporary and modern; in which originality glimpses
obviously.
For his works, the Government of India honoured him with Padma Shree, Padma Bhushan and Padma
Vibhushan. Mysore University and Banaras. Hindu University, Banaras honoured him with the degree of D.Litt.
(Doctor of Literature).]
MOTHER TERESA
Graphic-Printsof Contemporary (Modern) Indian Artists:
Children (Somnath Hore):-
Artist : Somnath Hore Period : Circa 1955-1970 A.D.
Medium : Etching and Aquatint on Copper Plate
Subject Matter: Theprint is a visualization of the artist’s emotional response to the pain and suffering of the
poor and deprived – the wounded humanity. It is about the physical suffering of the victimized and the
wounded, with no hope of rescue in this world, or the other.
Description: Childrenan etching with aquatint in black and white is a representational work by Somnath Hore
symbolizing his lifelong protest against the injustice meted out of the meek, humble and innocent poor people
of the society by the rich and the powerful ruling-class. Be it a famine or communal riot or war, they are the first
to suffer and die miserably in thousands.
The composition ‘Children’ is a powerful protest and the expression of the anguish the artist suffered. It is a
close- knit composition of five standing figures, all victims of starvation. To indicate their total isolation, there is
no background, perspective surrounding, as if they are abandoned by society.
The etching shows three emaciated children with bloated stomach and thin triangular rib cages, large heads and
small faces with protruding eyes. Their mother is standing behind them as if protecting them. Another girl child
equally emaciated is standing in front of them. The deeply etched ribs and cheek bones appear as deep gashing
wounds. The aquatint resorted to is not for any Chiaroscurist effect, but for filling the space.
[Somnath Hore (1921-2006): Somnath Hore was born at Chittagong, (now in Bangladesh). He was a self-trained,
talented artist of modern India. In his artworks is seen clear delineation of crimes against humanity and the
circumstances produced by them, and agonies happened during the Bengal’s Terrible Famine 1943, Indo-Pak
War 1971 and Vietnam War 1975.
Somnath, through his will-to-power, has got speciality in Chineese wood painting, Linocut, multi-coloured wood
engraving and Intaglio graphic techniques. He served as a professor in Govt. College of Art and Draftsmanship,
Calcutta (Kolkata) from 1954-1958. He was the in-charge of the Graphic Section of Delhi College of Art and
visiting professor of the M.S. University, Baroda and Vishva Bharati, Shanti Niketan later on head of the graphic
art department of Kala Bhawan, Vishva Bharati, Shanti Niketan. In his works the pain that he felt throughout his
whole life has come out.
His famous works are– Birth of a Rose, Dream, Standing Girl in Grief, Refugee, Unclad Beggar Family, and
Children. For his achievement of art, he was given several national awards.]
CHILDREN
Devi (Jyoti Bhatt):-
Artist : Jyoti Bhatt Period : Circa 1965-1970 A.D.
Medium : Etching on Brass
Subject Matter: This etching shows Devi as a power of worship and the hidden power of Kundalini. The Yoga
Upanishads describe that Kundalini is lying coiled at the base of our spine, represented as either a goddess or a
sleeping serpent waiting to be awakened.
Description: Devi illustrates the idea of fertility and power worshipped as Shakti or Devi in the Tantrik cult. This
power lies as Kundalini, a serpent in the female forms, at the base of the spine both in male and female.
Through yoga, mantras and deep meditation, this power can be made to rise through the spine to the brain
where the male power of Shiva resides. Once these two powers join, a person can achieve immense power over
the eight kinds of divine yogic ‘Siddhas’.
Jyoti Bhatt beautifully pasteurized this concept through his etching. He envisages the form of Kundalini
encircling the female fertility power in the form of a young lady in the lower section of the print.
But he has slightly departed from the original concept of male power residing in the brain and has placed this
power within the fold of the Kundalini in the heart Devi Shakti.
This deviation from the Tantrik concept may have originated from the words “pseudo Tantrik Kundalini”-
printed on the decorative pendant on the right of Devi’s head.
This may be interpreted as fake pretending Tantriks luring people with such novelty to exact money for the
personal benefit and cheat the society with their pretension.
The deep intaglio etching in black provides an artistic texture to the serpentine form. Shades of green have
been used artistically in the decorative pendants on each side of Devi’s head. A brilliant Bindi ornate the
forehead of Devi whose open large eyes resembled the Durga images from Bengal.
[Jyoti Bhatt or Jyotindra Manshankar Bhatt: Jyoti Bhatt was born at Bhavnagar, Gujarat on 12th March, 1934.
He, having taken diploma in Fine Art and postgraduate degree from M.S. University, Baroda, got fame as a
successful graphic printer and famous photographer. He was very much impressed with Picasso and Ben
Nicholson. The specialization in printing of attractive constructions by Intaglio Technique, got him not only fame
but also honoured with some awards and national awards. The excellence of his graphic work is seen in ‘Devi.]
DEVI
Of Walls (Anupam Sud):-
Artist : Anupam Sud Period : Circa 1982 A.D.
Medium : Lithograph
Subject Matter: This painting is a journey of the artist down her memory lane – of childhood. The subject is
unconsciously lost in the mystery of time, with nothing in particular but a gliding image that has found place in
her creation. This work is often interpreted as a representation of poverty and loneliness. However, for the
artist it is more of a personal moment.
Description: ‘Of Walls’ a graphic print in lithograph by Anupam Sud which is a mixture of photographic images
with drown areas to bring together the subject with objective reality to contrast the unfeeling background with
pulsating lively human forms.
In this painting a young lady sits in state wearing the traditional dress of a widow. There is a brick wall shown
beyond her on which pictures lively activities are faintly dawned to remind the viewers once she was a part of
these lively activities till the wall was erected to segregate (isolate) her from social life of meaningful activities.
Her black face indicate that she has become a non-entity, part of legs lying before her possibly of her head
husband with whose death she has also died for the society. The print is a powerfully protests by the artist
against society erecting such walls on the basis of caste, religion and status.
[Anupam Sood (born in 1944): Anupam Sood was born in Hoshiyarpur, Punjab, in 1944. He having taken
diploma from Delhi, learnt the art of painting .He did many experiments in several modes of Intaglio; such as
etching, dry-point, aquaint with silk- screen, mezzotint in lithography. His coloured Intaglio paint ‘Autumn’ is
such a work in which the feeling of anxiety are terrific on her face. Among his works, repleted with emotions and
countenances, the very important ones are ‘Adam and Eve, and ‘Purush and Prakriti’. Based on photomechanical
processes, their prints have been given in Dialogue Series. For his meritorious contribution in the field of art, he
received a strip of gold as reward from the President of India in 1975. For art, he is active in Delhi even today.]
OF WALLS
Man, Woman and Tree (K. Laxma Goud):-
Artist : K. Laxma Goud Period : Circa 1980-1990 A.D.
Medium : Lithograph
Subject Matter: It is a depiction of village life basing on artist’s childhood memories of rural tribal liveliness. A
native of an Andhra village, the artist has presented a rustic version of a man, a woman and a tree.
Description: ‘Man, Woman and Tree’ is one of the best known graphic prints of K. Laxma Goud. The painting
shows a female figure, is centrally composed with the grove of trees and shrubs on her left and on her right a
male figure under a grove merges with trees and the lower portion of his body surrounded by a growth of
scrubs. The male and female figures are facing each other and there is a smile in the tree sprit’s face. The
painter has drawn an Indian version of the Greek wood nymphs; both male and female are meeting together.
It’s a continuation of the philosophical thought of Laxma Goud that in nature, man, women, trees and animals
are in a continuums process.
[K. Laxma Goud: He was born on August 21, 1940 at Nizampur, in Andhra Pradesh. He is one of the graphic
painters of modern India. He having taken diploma from Government College of Art and Architecture,
Hyderabad, got diploma from M.S. University, Baroda. For some time he taught Performing Art and Fine Art at
Hyderabad University. Through the medium of his art work, he has been exposing the message of ever continued
co-relationship among culture, human, animals, birds and vegetation, which is naturally continuing among them
since centuries and will be continued in future, too.]
MAN, WOMAN AND TREE

Sculpturesof Contemporary (Modern) Indian Artists:
Triumph of Labour (D.P. Roychowdhury):-
Artist : D.P. Roychowdhury Period : Circa 1954 A.D.
Medium : Bronze and Cement
Subject Matter: The monument is symbolic of human spirit that wins over hardships with united labour. It is a
brilliant study of four human figures with ripping muscles, their personal moment of intense physical effort,
captured for the world to see and appreciate their daily sweat and labour for livelihood. The sculpture is the
focal point of May Day celebrations as the first one was celebrated here.
Description: ‘Triumph of Labour’ would ever an unparalleled example of sculpture. The four figures in the group
engaged in the formidable task of moving a massive rock with the help of wooden logs are perfect anatomical
studies of men engaged in a herculean task requiring maximum physical effort. They are muscular laborers
scantily clad in lion-cloth covering their heads as protection against the heat of the summer sun.
The straining semi nude figures reveal these news and muscles of their magnificent bodies win universal
acclaim. The labour they put in is symbolical of the progress of man. The sculptor has put in a masterly fashion,
the difficult reverse movement which is a unique feature of the sculpture. The sculpture shows a rare quality of
dynamic mobility.
Deviprasad was greatly influenced by the French master sculptor August Rene Rodin.
[Devi Prasad Roychowdhury (1899-1955): Born in 1899 in Rangpur now in Bangladesh, D.P.Roychowdhury is
one of the most talented and multifaceted Artists, India ever produced.
He started learning drawing from Abanindranath Tagore and as his disciple he started painting in water colour
both in tempera and wash on mythological subjects. His painting ‘Green and Gold’ in water colour was shown in
London Exhibition. ‘Nirvana’ in oil, ‘Bridge’ in pastel, ‘Durgapuja procession’ in oil, are some of his great
paintings.
After 1953, he was president and director of Lalit Kala Academy, Director of UNESCO Art Seminar in Tokyo,
received honorary D. Litt. of Ravindra Bharti University, Kolkata and awarded ‘Padmabhushan’ by Govt. of
India.]
TRIUMPH OF LABOUR
Santhal family (Ramkinker Vaij):-
Artist : Ramkinker Vaij Period : Circa 1938 A.D.
Medium : Cement and Concrete
Collection : Vishwa Bharati, Kala Bhavan Campus, Shanti Niketan, West Bengal
Subject Matter: Santhal Family is a free-standing out-door sculpture. It is a depiction of a tribal peasant family-
a man, a woman, children and a dog.
Description: ‘Santhal family’ is a complex composition with two figures standing side by side, a dog, a child
sitting in a basket hanging from a pole. The woman is walking beside the man. She has a load on her head. A dog
accompanies the man. It is an entire family in migration. It symbolizes labour migration. This is a harsh real
picture of a family forced to leave their land by hunger.
The sculpture follows no set style but the style of the rough textured land of gravel and red clay of
Shantiniketan. The road side composition carries the dynamism of the road.
Ramkinker’s sculptures reflect his concern and feeling for the life of that the life of that simple people around
him. None of his outdoor sculptures are placed on pedestal to establish their close earthy connections.
[Ramkinker Vaij (1910-1980): Ramkinker Vaij is a rare example of an artist who rose to greatness by sheer
willforce and dedication. He was born in 1910 in a poor family of barbers in the outskirts of Bankura, West
Bengal. The family could not spare money for his papers, or paints or his teaching. He had to pilper spices like
turmeric from his mother’s kitchen and vermilion from their toiletry to paint pictures. He had no training what so
ever from any, yet.
To learn clay modeling, he and two other friends pilfered the local crematorium to find skeletons for learning
anatomy. His creative urge was so great that when he couldn’t find more to buy Plaster of Paris or other
materials, he used red gravel, sand and cement for his famous outdoor sculptures like ‘Santhal Family’, ‘Sujata’,
‘Harvester’ which were cast directly on the road side around Kala Bhawan.]
SANTHAL FAMILY
Cries Un-heard (Amarnath Sehgal):-
Artist : Amarnath Sehgal Period : Circa 1958 A.D.
Medium : Bronze
Subject Matter: Contemporary-socio-economic ills that plague India. Theme of much of Sehgal’s works primary
revolved around the importance in individual freedom and human dignity, and his response to the horrors of
political violence.
Description: The Widely known bronze casting entitled ‘Cries Un-heard’ by Amarnath Sehgal won him the
presidents golden plaque award in 1958.
It is a symbolic creation of family of three figures, the parents and their child expressing, deep anguish of the
sculptor at the injustice prevalent in society. The tall elongated figure with hollow distorted faces and hands
raised towards the sky are shooting to the world how through the ages they have been victims of political and
social injustice with no one to hear to their protest. The masks like faces of the victim seem to suggest they have
been suffering in permittivity at the hands of unjust people in society, who have been exploiting them.
Seghal believes that it is the responsibility of the artist to make the cries downtrodden and victimized people
heard by society. The distortion of the figure presents the social evil and the distorted view of society which has
become immune the human misery. The lifelong exploitation have made them hollow.
[Amarnath Sehgal: Amarnath Sehgal was born at Ampbelpur of distictAtok in Pakistan in 1922 A.D. After Indo-
Pak partition, he came to India. In 1950 A.D., he got master’s degree in art from New York University. He taught
in Mordern School in Delhi. He is known as a philosopher, poet, sculptor and artist. His other creation are –
Auguished cries (bronze), floating cries (poem) and Abyss of life.]
CRIES UNHEARD
Ganesha (P.V. Jankiram):-
Artist : P.V. Jankiram Period : Circa 1970-1980 A.D.
Medium : Oxidised Copper, Wires and Tint
Subject Matter: A modern/abstract sculpture of the Hindu God Ganesha.
Description: Aesthetically P.V. Jankiram’s ‘Ganesha’ in oxidized copper preserved in the N.G.M.A. is one of the
finest creations of the sculpture. It’s an example of ‘Repousse’ work consisted of hammering concave surfaces
into the metal to serve the style. It has been termed as frontal sculpture or two dimensional sculptures.
The six handed dancing figure of Ganesha using the lower two hands to hold the Veena and playing it, while
four other holds the traditional Shankha-Chakra-Gada pdma to bear the look of deity in incarnation. The
sculpture shows some unique feature of plasticity of form, frontality, continuity and smoothness of surface and
exquisite ornamentation as there is a conscious effort to revive the folk art of the south. The placing of the
Sankha-Chakra and Gada helps the sculptor move closure to the original of the traditional imagery. The form is
not static but gives a hint of movement in his dancing posture.
[P.V. Janakiram: P.V Janakiram was born in Madras (Chennai) in 1930 A.D. He got degrees in Fine Art, Sculpture
and Vocational Art from Art College, Madras. Bhagat’s idols express mystic principles. The main speciality of
them is the idols are standing facing towards one another and they have been ornamented with copper and thin
wires of copper. Among his leading idols are –Krishna, Garuda, Ganesha, and Christ; other creation are-Madona
and Chid and Flute Player.]
GANESHA
*******

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(2024-2025)

The Rajasthani School of Miniature Painting

Origin and Development:-

The Main Characteristics or features of Rajasthani School of Miniature Painting :-

The Rajasthani Paintings:

Subject Matter: Maru-Ragini is a vertical painting from Ragamala series.

MARU RAGINI (1)

MARU RAGINI (2)

Chaugan Players (Dana):-

Krishna on Swing (Nuruddin):-

Radha [Bani-Thani] (Nihalchand):-

Bharat meets Rama at Chitrakuta (Guman):-

BHARAT MEETS RAMA AT CHITRAKUT

Origin and Development:-

The Main Characteristics or features of Pahari School of Miniature Painting :

Krishna with Gopis (Manaku):-

KRISHNA WITH GOPIS

NAND YASHODA AND KRISHNA WITH KINSMEN GOING TO VRINDAVANA

Origin and Development:-

The Main features of Mughal School of Miniature Painting :

The Mughal Paintings:

Krishna lifting mount Govardhana (Miskin): -

KRISHNA LIFTING MOUNT GOVARDHANA

KABIR AND RAIDAS

Marriage Procession of Dara Shikoh (Haji Madani):-

MARRIAGE PROCESSION OF DARA SHIKOH

Origin and Development:-

The Main features of Deccan School of Miniature Painting :

The Deccan Paintings:

Hazrat Nizamuddin Auliya and Amir Khusro:-

HAZRAT NIZAMUDDIN AULIYA AND AMIR KHUSRO

CHAND BIBI PLAYING POLO

The significances of the colours are as follows: -

Origin and Development:-

Appreciation of the following paintings of the Bengal school:

Journy’s End (Abanindranath Tagore):-

Shiva and Sati (Nandlal Bose):-

SHIVA AND SATI

The Modern Trends in Indian Art:

Appreciation of the following Contemporary (Modern) Indian Art:

Paintingsof Contemporary (Modern) Indian Artist:

RAMA VANQUISHING THE PRIDE OF OCEAN

Mother and Child (Jamini Roy):-

MOTHER AND CHILD

Haldi Grinders (Amrita Sher Gil):-

MAN, WOMAN AND TREE

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