Eternal India Encyclopedia

Eternal India

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elongated female and oval faces, Rajput elements predominate

later (between 1760-1780) in its linear rhythm and glowing colours

under the patronage of Bijai Singh (1753-1793), Bhim Singh (1793-

1803), Man Singh (1803-1843) the last setting the fashion of bell-

like skirts and short bodies for women and pleated coats, flat-

twisted turbans, side whiskers for men. Under him, the paintings il-

lustrating Shiva Purana, Nathacarira, Durgacharitra, Panchatantra,

Ragamala,

Kamasutra

were produced.

Near Jodhpur, Bikaner became an important school of painting,

where Rai Singh (1571-1612) employed artists and encouraged

Sanskrit classics. Karan Singh (1631-1669) whose reign coincided

with that of Shah Jehan and Aurangzeb, had eminent artists, such

as Ustad Isa Muhammad.

In the tiny state of Kishangarh,

was discovered another school by

Eric Weckinson where a tendency

to elongate the human figure, lav-

ish use of green, panoramic land-

scapes can be seen. The great pa-

tron, Sawani Singh, was fond of

themes of worship and love mak-

ing of Krishna. The style portrays

women with elongated faces with

a receding forehead, arched eye-

brows, lotus-like eyes, slightly

tinged with pink, a sharp pointed

nose, thin sensitive hips and a

pointed chin as seen in the painting

of Radha and Krishna by Nihal

Chand (pi. 20, Indian Painting, by Randhawa and Galbraith), one of

the most striking of all Indian paintings. Sawant Singh fell in love

with a maid in his step-mother's entourage, Bani Thani, who posed

as Radha. A series of paintings of the

Gita Govinda

was done in

1820 for Kalyan Singh (1798-1834) which are rhythmic and sensu-

ous. Painting in Jaipur was initially Mughal in style, but gradually

under Pratap Singh (1779-1803) Mughal influence receded and a

genuine Jaipur-Rajput style made its appearance. A favourite

theme was Krishna performing the Ring Dance with his gopis.

The minor principalities, Rajput states on the southern edge of

the Punjab Hills, were ruled by Ranas, who patronised painting.

Basholi, under Raja Kirpala developed the new, distinctive and

magnificent style, with a strong use of primary colours, expressive

eyes, a unique facial formula, warm horizon, yellow background

conveying an impression of the bright sunlight of India. The source

of the style is unknown but might have originated when artists mi-

grated during the reign of Aurangzeb; though it has little in common

with Mughal spirit and expression. Produced in a wealthy state, the

themes are from Rasamanjari done by Devi Dasa (1694-1695) and

his other versions are now in the Bharat Kala Bhavan, Benares,

Dogra Art Gallery in Jammu,

Museum of Fine Arts in Boston,

the Victoria and Albert Museum

in London and many private col-

lections.

Another

favourite

theme is the love of prince

Madhava for Malati and Krishna

worship.

The kingdom of Kangra in the

Punjab Hills in its birthplace at

Guler was the refuge of artists trained in the Mughal style. Under

Dalip Singh, a family of Kashmir Brahmins, Manak Vain Sukh be-

came well known. Govardhan Chand (1744-1773), Prakash Chand

and Samsar Chand were great patrons and there are pictorial rec-

ords of Samsar Chand and his court. The themes of Bhagavat

Purana, Gita Govinda, Sat Sai, Nala and Damayanti in the

Ma-

habharata,

the Ragamala series and "Twelve Months" are better in

style. The "Twelve Months" was more than the vision of changing

seasons and landscape. In the plate (pi no.32, Indian Painting by

Randhawa and Galbraith) depicting the month of April (1790)

showing the Raja of Lamba-graon, the lovers are seated on a ter-

race and the hill side in the background is covered with flowers. The

lady is imploring her lover not to leave on his travels and leave her

alone when the spring is in its prime. The painting catches the uni-

versal spirit of spring. These paintings were produced in the sub-

Himalayan states of Jammu, Basohili, Chamba, Nurpur, Kangra,

Kulu, Mandi and Siket. The theme is Krishna at his boyhood pranks

and his dalliance with Radha. Dance and music in sylvan surround-

ings is a frequent motif of this school. The paintings of Basohili

display brilliant colours. The paintings of Kangra have the fine

artistry of Mughal miniatures.

The earliest paintings in Kerala were discovered in the rock-cut

cave temple of Tirunandikkara. Here we have outlines of the figures

of Shiva and Parvathi. Painting belonging to the 16th C is found on

the Gopura of Shiva temple at Ettumanur. It is 12 feet in length and

3 feet in height. The theme is Shiva, as Nataraja, trampling under-

foot the spirit of evil represented by a demon. In the palace at Pad-

manabhapuram, the capital of Travancore, we have nearly 50

scenes of mythological interest painted on the four walls of the

room. The Adi Kesava Perumal temple at Tiruvattar has murals

belonging to early 17th C. The royal palace at Mattancherry has

mural paintings in the royal chamber. On the walls are 48 pictures

covering more than 300 feet of which 43 are scenes from the

Ramayana

and remaining from Krishna Leela. In the ancient Shiva

temple at Tiruvanchikulam are seen five panels of mural painting,

the best of which is a scene from the

Mahabharata.

In the Vishnu

temple of Aranmula there are four mural paintings on the walls of

the Srikoil.

The Virabhadra temple at Lepakshi contains the best paintings.

During the time of the Vijayanagar King Achyuta Raya, two nobles

who were brothers undertook

the erection and painting of this

temple.

Originally

paintings

covered the ceilings but they

are now partially damaged.

The best of these paintings

shows an episode from the life

of King Manunitikonda Chola

who grants justice to

a cow

whose calf was killed

by his

son's chariot. He ordered the

prince to be sacrificed under the

chariot

wheels.

Appreciating

the King's sense of justice Lord

Shiva restored life to both the

There are also scenes from Draupadi's wedding.

Kiratarjuniya

(Arjuna's penance) to obtain

pasupatastra

from Shiva and the story

Bhukailasa.

There is a picture of infant Krishna lying on a banyan

leaf floating over the primordial waters.

Maids attending on Parvati, Virabhadra

temple, Lepakshi

victims.