Elegance in Miniature: The Distinctive Charms of Kishangarh Paintings

Kishangarh paintings are among the most stylised Rajasthani miniatures. They’re known for their refined elegance and unique facial depiction such as arched eyebrows, lotus petal-shaped eyes with a pinkish tinge, drooping eyelids, sharp slender nose, thin lips etc.

Kishangarh Painting Odyssey: Origins, Man Singh’s Patronage, and Distinctive Stylistic Flourish

• Kishan Singh established Kishangarh Painting in 1609 after branching off from the Jodhpur monarchy.
• By the mid-seventeenth century, under Man Singh’s patronage (1658–1706), a distinctive artistic style began to emerge in the Kishangarh court. 
• Characteristic of this Style: An inclination to elongate human forms, a fondness for the colour green, a preference for panoramic landscapes

Religious Influence: Kishangarh Painting of Vallabhacharya’s Cult and Radiant Krishna Lila Artistry

• Raj Singh’s (1706–1748) initiation into the Pushtimargiya cult of Vallabhacharya paved the way for Krishna Lila themes to become the primary focus of Kishangarh Painting.
• These themes, especially those centered on the divine lovers Radha and Krishna, became deeply personal for Kishangarh’s rulers.

Notable Artists and Their Contributions: Kishangarh’s Radiant Love Stories in Paint, 1735–1757

• Nihal Chand stands out as the most celebrated artist, working primarily for Sawant Singh between 1735 and 1757.
• Nihal Chand’s compositions centered on Sawant Singh’s poetry, which often depicted Radha and Krishna as divine lovers. 
• These paintings portrayed: Kishangarh’s Panoramic Tales in Vivid Hues
  • The lovers set against courtly backgrounds;
  • A vast, detailed panoramic landscape setting making the figures appear diminutive in comparison;
  • A vibrant use of accentuated colours.

Jodhpur School of Painting: Resisting Mughal Influence, Celebrating Heroes, and Picturing Cultural Tapestry

• While the Mughal influence since the sixteenth century brought about changes in portraiture and court scenes, the indigenous folkish style of Jodhpur resisted this influence, maintaining its strong presence in many illustrated sets of paintings.
• One of the early notable sets was a Ragamala painted by Virji in Pali in 1623.

• Maharaja Jaswant Singh (1638–1678): Pioneering Documentary Art in Vallabha’s Grace
  • He initiated a prolific era in the mid-seventeenth century.
  • Began the trend of documentary painting, which continued until the advent of photography in the 19th century.
  • Due to his inclination towards the Vallabha cult of Shrinathji, Krishna-related themes were predominant, with Bhagvata Purana being the most prominent.
    

• Ajit Singh (1679–1724): Triumph and Valor in the Rathore Warrior’s Saga
  • Ascended the throne after a 25-year war against Aurangzeb, led by the legendary warrior Veer Durgadas Rathore.
  • Durgadas’s heroic feats were celebrated in poems and court paintings, with equestrian portraits becoming popular.
    
• Man Singh (1803–1843): Narratives of Myth, Cityscapes, and Nath Devotion
  • Notable works from this period include the Ramayana (1804), Dhola-Maru, Panchatantra (1804), and Shiva Purana.
  • Ramayana paintings are particularly interesting for depicting Rama’s Ayodhya as Jodhpur, offering insights into the city’s architecture, bazaars, and cultural life of the time.
  • Man Singh was a follower of the Nath Sampradaya, and paintings of him with Nath gurus, as well as a set of Nath Charita (1824), were produced.
  • Inscription: Inscriptions on Marwar paintings were generally limited until the nineteenth century, occasionally providing dates, artist names, or places of painting.

Jaipur School of Painting: Mughal Influences and Artistic Triumphs through Royal Eras

• Closeness to Mughals: The Jaipur School of Painting originated in Amer, which was in close proximity to the Mughal capitals, Agra and Delhi. 
  • Due to the proximity and cordial relations with the Mughal emperors such as Raja Bharmal married his daughter to Akbar and his  son, Bhagwant Das, was a close friend of Akbar, and Bhagwant’s son, Man Singh, was Akbar’s trusted general. 
  • So Amer experienced strong Mughal aesthetic influences.

Evolution under Prominent Rulers: Evolution of Jaipur School Under Prominent Rulers

• Sawai Jai Singh (1699–1743): Sawai Jai Singh’s Patronage and Artistic Brilliance
  • He established the city of Jaipur in 1727, shifting from Amer. 
  • During his reign, the Jaipur School thrived and became a distinct entity.
  • He brought Mughal painters from Delhi to be part of his atelier. 
  • He reorganised the Suratkhana, the place for creating and storing paintings.
  • He commissioned many paintings on Radha and Krishna themes. 
    • His sets based on Rasikapriya, Gita Govinda, Baramasa, and Ragamala were popular, often depicting the king as the hero.
  • Portrait painting flourished with notable painters like Sahibram and Muhammad Shah.
• Sawai Ishwari Singh (1743–1750): He continued the patronage of the arts. 
  • He commissioned paintings capturing leisure activities such as hunts and elephant rides.
• Sawai Madho Singh (1750–1767): He focused on documenting court life incidents in paintings.
• Sawai Pratap Singh (1779–1803): He marked a turning point where the dominant Mughal influence began to wane. 
  • He introduced a unique Jaipur style, blending Mughal and indigenous aesthetics.
  • He employed around 50 artists. 
  • Being a scholar, poet, and Krishna devotee, he revitalised various literary and religious painting themes.

Features of Jodhpur School of Painting: Tracing, Gold Accents, and Grand Formats

• In the 18th century, many paintings were reproduced using tracing and pouncing methods.
• By the early 19th century, there was an extensive use of gold in paintings.
• The Jaipur School favoured large format paintings, even producing life-size portraits.

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