Hunting Scenes and Heritage: The Rise of Kota School of Painting

The Kota School of Painting emerged from the illustrious tradition of the Bundi School, with a unique emphasis on vivid hunting scenes. Historically, Bundi and Kota were unified territories until 1625. Emperor Jahangir, appreciating Madhu Singh’s valor, separated Kota from Bundi as a reward. Painting in Kota commenced around the 1660s, during the reign of Jagat Singh  (1658–1683).

Stylistic Evolution and Distinctiveness: ota School’s Unique Journey in Artistic Expression

• Initial Similarities and Borrowings: Initially, distinguishing between Bundi and Kota School of Painting was challenging, as Kota borrowed heavily from Bundi’s artistic repertoire.
  • However, over time, Kota School of Paintings displayed a distinctive non-conformity, especially in figural and architectural representations.
• By Ram Singh I’s reign (1686–1708), the variety of subjects in Kota School of Painting had significantly expanded.
  • Kota artists pioneered landscape-centric compositions, making landscape the primary subject.

Umed Singh’s Legacy: Hunting and Artistic Flourish in Kota Paintings

• Umed Singh’s reign (1770–1819) is particularly notable. Ascending the throne at a young age, he was primarily engaged in hunting, under the influence of his regent, Zalim Singh.

• This obsession with wildlife and hunting is prominently reflected in the paintings from his period, often serving as records of his hunting expeditions.
• Even the women of the court actively participated in these hunting-themed social rituals.

Key features of Kota School of Painting: Kota Paintings’ Spontaneity, Calligraphy, and Mastery

• Spontaneity in execution, calligraphic detailing, distinct shading techniques, notably the double-lid eye representation, mastery in depicting animals and combat scenarios etc

Bikaner School of Painting: Artistic Heritage Blend of Mughal Elegance

• Rao Bika Rathore founded Bikaner, a key Rajasthani kingdom, in 1488.
• Under Anup Singh’s rule (1669–1698), Bikaner housed a library rich in manuscripts and paintings.
• Due to prolonged ties with the Mughals, Bikaner’s painting style imbibed Mughal grace and a subdued colour palette.

Influential Artists And Their Contributions: Bikaner School of painting Tapestry of Mughal and Regional Styles

• Mughal Atelier Contributions: Inscriptional evidence suggests numerous Mughal atelier master artists visited and contributed to Bikaner’s art during the 17th century.
• Ustad Ali Raza and the Inception of Bikaner School: Ustad Ali Raza, a master from Delhi, was employed by Karan Singh. 
  • His works mark the inception of the Bikaner School, dating back to circa 1650.
• Blend of Indigenous, Deccani, and Mughal Styles: In Anup Singh’s era, master artist Ruknuddin’s works blended indigenous, Deccani, and Mughal styles. 
  • He illustrated significant texts, including the Ramayana, Rasikapriya, and Durga Satpsati.
• Other notable painters in his atelier included Ibrahim, Nathu, Sahibdin, and Isa.

The ‘Mandi’ System and Artistic Practices: Mandis, Master Artists, and Multifaceted Studios

• Establishment of Mandis: Bikaner had a tradition of establishing studios called “Mandis” where artists worked under a master artist’s guidance. 
• Leadership Roles: There were Known master artists like Ruknuddin, Ibrahim, and Nathu managed several of these studios.
• Finalization of Artworks: Once a painting was finished, details of the master artist and date were inscribed on the artwork. 
• “Gudarayi” or “Lift” Process: Often, even if pupils painted the work, the master artist’s name was inscribed, implying that the master might have added final touches. 
  • This process was termed “gudarayi” or “lift”.
• Multifaceted Roles of Studios: Studios also performed “marammat” (repairs) and created “nakals” (copies) of older artworks.

Traits of the Bikaner School of painting: Ustas, Soft Hues, and Dreamy Portrayals

• A unique Bikaner practice was to include portraits of artists, often with inscriptions detailing their lineage. Such artists were titled “Ustas” or “Ustad”.
• Ruknuddin’s works were notable for their soft colour hues.
• Ibrahim’s creations carried a dreamy aura, with delicate figures and well-defined faces.
• Ibrahim’s studio was particularly prolific, with various sets like Baramasa, Ragamala, and Rasikapriya to its credit.