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    D&P Presentation

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    Raj Mhatre
    The document discusses different schools of miniature painting that developed in northern India between the 16th-19th centuries. It describes the Mughal school, considered the most influential, noting its sophisticated techniques and diverse subject matter. It also summarizes key characteristics and influences of the Pahari schools of Guler, Kangra, and Chamba, which emerged under Rajput royal patronage and blended Mughal styles with local idioms to create distinct regional styles. The production process, materials, and techniques used in Mughal miniatures are also outlined.

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    D&P Presentation

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    Raj Mhatre
    123 views14 pages
    The document discusses different schools of miniature painting that developed in northern India between the 16th-19th centuries. It describes the Mughal school, considered the most influential, noting its sophisticated techniques and diverse subject matter. It also summarizes key characteristics and influences of the Pahari schools of Guler, Kangra, and Chamba, which emerged under Rajput royal patronage and blended Mughal styles with local idioms to create distinct regional styles. The production process, materials, and techniques used in Mughal miniatures are also outlined.

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    The document discusses different schools of miniature painting that developed in northern India between the 16th-19th centuries. It describes the Mughal school, considered the most influential, noting its sophisticated techniques and diverse subject matter. It also summarizes key characteristics and influences of the Pahari schools of Guler, Kangra, and Chamba, which emerged under Rajput royal patronage and blended Mughal styles with local idioms to create distinct regional styles. The production process, materials, and techniques used in Mughal miniatures are also outlined.

    Copyright:

    © All Rights Reserved
    Download as PPTX, PDF, TXT or read online from Scribd
    Download as pptx, pdf, or txt
    123 views14 pages

    D&P Presentation

    Uploaded by

    Raj Mhatre
    The document discusses different schools of miniature painting that developed in northern India between the 16th-19th centuries. It describes the Mughal school, considered the most influential, noting its sophisticated techniques and diverse subject matter. It also summarizes key characteristics and influences of the Pahari schools of Guler, Kangra, and Chamba, which emerged under Rajput royal patronage and blended Mughal styles with local idioms to create distinct regional styles. The production process, materials, and techniques used in Mughal miniatures are also outlined.

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    © All Rights Reserved
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    of 14

    SHD-Drawing and Painting Presentation

    . .
    The Mughal School of Miniature Painting

     Mughal painting is the style of miniature painting that developed


    in the northern Indian subcontinent in the sixteenth century and
    continued till the mid–nineteenth century. It is known for its
    sophisticated techniques and diverse range of subjects and themes.
    The Mughal miniature painting inspired and resonated in
    subsequent schools and styles of Indian painting, thereby,
    confirming a definite position for the Mughal style within the
    Indian school of paintings
    Influences on Mughal Painting
     The Mughal style of miniature painting was responsible for the
    amalgamation of indigenous themes and styles along with Persian
    and later European themes and styles
     The arts of this period reflect a synthesis of foreign influences and
    indigenous flavour.
     The peak of Mughal painting presented a highly sophisticated blend
    of the Islamic, Hindu and European visual culture and aesthetics.
     This Paintings envisaged expressed a congregation of tastes,
    philosophies and faiths of the Mughals by their extraordinary visual
    language
    Process of Mughal Painting

     Most of the paintings that we see as Mughal miniatures were parts of


    manuscripts and royal albums, i.e., the visual and text shared space in
    a given format.
     For making book painting, the following process was adopted. Sheets
    of handmade paper were prepared and cut to suit the size of the
    manuscript. Designated space was left for the artist to fill it with a
    suitable visual composition. Then, the pages were ruled and filled with
    text. Once the text was written, it was given to the artist, who would
    compose a synoptic visual representation of the text. The artist would
    begin from the stage of making the composition, i.e., tarh, to portraits,
    i.e., chiharanama to the final stage of colouring, i.e., rangamizi.
    Colours and Technique of Mughal Painting
     The painters in the atelier were also masters of art making colours.
    Mughal paintings were made on handmade paper, which was
    prepared especially for this purpose. The colours were opaque and
    were obtained from natural sources by grinding and mixing
    pigments to obtain perfect shades of colours
     The paint was applied using a variety of brushes made with the hair of
    squirrels or kittens.
    The Pahari Schools of Painting
     Pahari denotes ‘hilly or mountainous’ in origin. Pahari Schools of Painting
    includes towns, such as Basohli, Guler, Kangra, Kullu, Chamba, Mankot,
    Nurpur, Mandi, Bilaspur, Jammu and others in the hills of western
    Himalayas, which emerged as centres of painting from seventeenth to
    nineteenth century.
     Unlike the distinguishing stylistic features of Mughal, Deccani and
    Rajasthani Schools, Pahari paintings demonstrate challenges in their
    territorial classification
     The emergence of the Pahari School remains unclear, though scholars have
    cautiously proposed theories concerning its beginning and influences.
     Pahari painting grew out of the Mughal painting, though this was
    patronized mostly by the Rajput kings who ruled many parts of
    the region, and gave birth to a new idiom in Indian painting.

    Schools of Pahari painting


    • Guler School
    • Kangra School
    • Chamba School

    .
    Guler School
     The first quarter of the eighteenth century saw a complete transformation in the
    Basohli style, initiating the Guler–Kangra phase. This phase first appeared in
    Guler, a high-ranking branch of the Kangra royal family, under the patronage of
    Raja Govardhan Chand (1744–1773). This style is more refined, subdued and
    elegant compared to the bold vitality of the Basohli style.
     Guler appears to have a long tradition of paintings amongst all Pahari schools.
    There is evidence that artists were working in Haripur–Guler ever since the reign
    of Dalip Singh (1695–1743) as many of his and his son Bishan Singh’s portraits,
    dating back to earlier than 1730s, i.e., before the beginning of the Guler–Kangra
    phase can be found.
    Paintings of Guler School
    Kangra School

     Painting in the Kangra region blossomed under the patronage of a remarkable


    ruler, Raja Sansar Chand (1775–1823). It is believed that when Prakash Chand
    of Guler came under grave financial crisis and could no longer maintain his
    atelier, his master artist, Manaku, and his sons took service under Sansar
    Chand of Kangra
     The Kangra style is by far the most poetic and lyrical of Indian styles marked
    with serene beauty and delicacy of execution
     Characteristic features of the Kangra style are delicacy of line, brilliance of
    colour and minuteness of decorative details. Distinctive is the delineation of the
    female face, with straight nose in line with the forehead, which came in vogue
    around the 1790s is the most distinctive feature of this style.
    Paintings of Kangra School
    Chamba School

    • The earlier painting of Chamba was influenced by


    Basholi Kalam but later influenced by Kangra
    Kalam.
    • The central theme of Chamba Paintings was Vishnu
    in his two incarnations, Rama and Krishna.
    • In the 18th century,Nikka was the master artist of
    chamba Paintings

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