Fine Arts Notes for class 12th n above

The Mughal School of Miniature Painting:-

In 1544 A.D, while coming to India, Humayun brought two famous Painters, “Shiraji” (specialized in animal painting) and “Meer Sayyed Ali” (well versed in village painting).
For the time being these two painters only constructed the base of Mughal School of Painting.
At the time of Akbar, Irani and Indian both styles were infused which led to the origin of independent Mughal style.
In the supervision of “Kwaja Abdul Samed”, a separate art gallery was established by Akbar, At the time of Jahangir Mughal Painting was on its climax. “Abdul Fazl” wrote a detailed history of the Mughal dynasty – “The Akbarnama” – including in it an encyclopedia account of the administration of the court and empire (the Ain-i-Akbari, or Institute of Akbar). Akbar selected passages of the texts which he wished illustrated and examined the work of the artists regularly. Abdul Fazl who presented this great work to Akbar in 1590 noted that over a 100 of the illustrations in “Akbarnama” were considered to be “famous masterpieces of Art.”
The paintings of “Akbarnama” are an extra ordinary document of life at the Mughal court, depicting the battles to overthrow the great Rajput fortresses of Chittor and Ranthambor, the hunt, the arrival of embassies to the court, rejoicing at the birth of a prince, and the building of Fatehpur-Sikri.
Some of the paintings open out on to a far away horizon, tinged with blue to give the illusion of distance, a device copied from European artists. Akbar’s craftmen had made direct contact with western art when he sent some of them to the Portugese settlement at Goa in 1575 in order to bring back rarities and to learn foreign craft skills.
Realism is the keynote of the Mughal school of painting. It’s subjects are largely drawn from incidents connected with the magnificent court life of the time. In scale the Mughal picture is small, and under the popular name of “miniature painting”, it’s connection with Persian book illustration may be observed.
Jahangir himself was an excellent painter “Bharat Sundari” (Art gallery – “Varanasi”) is an outstanding creation of this time.
At this time women also started painting.
Jahangir specially focused on the paintings of birds, animals and natural sceneries.
Akbar had already provided the model for portrait painting, and Jahangir followed those tradition. In addition to the Emperor and members of the royal family, Mughal artists also portrayed holy men, saints, dancing girls, soldiers, lovers, calligraphists and painters. Although group portraits were favored under Jahangir, the artists generally confined themselves to representation of single figures.
Jahangir had inherited in full measure Babur’s love of nature and he commissioned artists to depict for him portraits of rare animals and birds. Some of the finished sketches of animals and birds such as “Himalaya cheer Pheasant” and “Turkey – Cock” (Victoria and Albert Museum, London) and “Falcon”(Prince of Wales Museum, Bombay) believed to have been executed by artist Mansur, are superb creations not only for the accuracy of detail but also a dedicate sense of colors & fine brush-work. Artists also represented incidents of field sports in their most thrilling moments. The picture entitled “Red blossom” is the best known example of Mansur’s floral paintings.
Under “Shah Jahan” painting was not given so much importance as architecture through the art gained in technical perfection. But it became stereotyped, static, and less lively. Aurangzeb’s reign practically saw the decline of the art in the Mughal court.
At this time the only aim of paintings was the demonstration of glory of Mughal dynasty.

Some Important Mughal Paintings-

Title Painter Period
1. Krishna lifting Mountain
Goverdhana Miskin Akbar
2. Jahangir holding the picture
Of Madonna Abdul Hussain Jahangir
3. Falcon on a bird’s nest Ustad Mansur Jahangir
4. Kabir and Raides Ustad Faquirullah Khan Shah Jahan
5. Marriage procession of DaraSikoh Haji mandi Provinced Mughal
(oudh.)
6. Babur Crossing the River “Son” Jagannath Akbar

Characteristic of Mughal School of painting –

The trend of pictorising “Biographies” and historical books.
The Alphabets of “Irani-Kalam” and borders in all sides of the painting were very attractive.
Completion of a painting required the co-operation of three artists.
Golden colors were used.
Names of the artists were written on the paintings made by them. Painting comprised the artist’s signature.
Light, Shade, Density, Perspective (Comparative study), development, depth etc. were elegantly painted.
According to “Ray – Krishna Das” Akbar period’s paintings had four subdivisions-
a) Paintings of Indian myths.
b) Painting of Non-Indian legends.
c) Historical Paintings.
d) Human Portraits.
(i) Mughal School of paintings of Jahangir period was on its climax. At this time
Women also started painting.
(ii) Ustad Mansoor was ordered to point hundreds of fauna.
(iii) The art of embracing leaves and flowers on the walls of fort was called “Pitr-
E-Dup”.
(iv) Beauty of Thalamus was painted at the time of Shahjahan and many paintings
of wealth and luxurious life were made.
(v) European and particularly Portuguese impact can be seen on the paintings for
the first time in Mughal Paintings.



The Rajput/ Rajasthani School of Miniature Painting:-

The origin of Rajasthani painting dates back to the sultanate period in the early 16th century. The rise of regional sub-schools in the Rajasthani group seems to have taken place in the same period. However, the earliest documents from centers like Mewar, Amber, Bundi and Malwa appear only from the beginning of the 17th century. All the sub-styles possess certain common factors that suggest a generic Rajasthani style which gave birth to these regional forms. These illustrations are strongly influenced by the contemporary literary and musical forms, and draw upon their motifs. They are all decorative in their composition and color scheme.
It is with a set of “Ragamala” paintings done in 1605 in the mountains regions of “Mewar” (the house Nithar-din) that we come to the first specific work belonging to this school. The Mewar paintings portray incidents mainly from the life of Krishna and his frolic with the gopis, the hero and heroine themes of Hindi poetry and the pictorial representation of the Indian musical (Ragamala) nodes. Illustrations from the Bhagvata and Ramayana are conceived executed on a wider canvas and hundreds of figures overcrowding the scenes play their roles against the background of the social life of the palace are depicted with feeling.
The portrayal of birds and animals shoes their Gujarati origin through the Mughal influence can be felt in the realistic treatment of horse and elephants in the manner of the Shahjahan period. The landscape lacks the naturalism of the Mughal school but it has an imaginative character which reveals unsurpassing beauty ever in its conventional treatment. The tree types with dense foliage, rivers full of lotus blossoms and drops of rain falling from deep blue clouds, streaks of gold indicating lightening are all striking.
There is little material to follow the progress of the Mewar School after 1652, but judging from the Ragamalas Series and an illustrated Bhagvata Purana, it appears certain that the rich traditions of Mewar painting were continued up to the 17th century.

Sub schools of Rajasthani School of Miniature Paintings –

Mewar;- “Jagat Singh –I – 1628 to 1652 A.D.”
This was the golden period for Mewar school of painting. ”Vijay Vallabh Suri {1423 A.D.}”has crystal clear result of this style. Amours of Radha-Krishna were the main subject of this style.
This style also includes the series of “Ragamala” painting yellow, red and saffron are the main colors and background is smoothly painted with one color.

Bundi:- Bundi style’s development started from the “Sujan’s” period {1554 to1585 A.D). The kingdom of Bundi and Kotal in south–east Rajasthan developed more consistently interesting panting style. Bundi painting began to concentrate on court scenes under Rao Chattersal & Bhao singh and many scenes of nobles, lovers and ladies in palaces were produced throughout the 17th &18th centuries.
Main topics of this style are “Raga-Raginies”, ”Secret of heroines“, ”Barahmasa” and “Krishnaleela”. Wonderful natural scenes and common people were portrayed in abundance.
The outstanding color is red, white , yellow and green. Red scarf {chunri} and white Bodice{kanchuki}were the common dress for women.


Bikaner:- 1571to1611A.D:.-“Raja Ram Singh “:- Most of the painter of this school were liberal Muslims who painted “Ragamala” and “Barahmasa “ etc, specimens are found in “Anup Mahal“ and “Phoolmahal’s interior decoration as well as on the doors of “Sujan Mahal” .

Kishangarh:- During the reign of Udai Singh’s son & Bishun Singh {1809 A.D} this school flourished as the developed from of Marwar school .
This school developed as one of the most important schools of 18th century Rajasthani Painting. An offshoot of the Jodhpur School, the Kishangarh idiom rose around the personality of Raja Samant Singh (1748-64), a follower of the Vallabhi sect and a devotee of Lord Krishna. Among the court painters, the name of Nihal Chand is most famous. He developed an extraordinary “Mannerist” style which exaggerated the slender curves and almond eyes of his figures. The facial type, through idealized, is extremely lyrical in the beauty content. The most popular subjects of the paintings are the love scenes of Krishna and Radha.

Jaipur :- Jaipur paintings, from the time of Swai Pratap Singh (1778-1803) experienced an entirely new look. Imperial Delhi was in disgrace and decline. It therefore ceased to make any genuine impression on Rajput art. It’s period lies between 1600 to 1900 A.D Many paintings of this style are made in the middle and end of the 18th century in the form of cave paintings. Beautiful co-ordination of devotion and lovely sentiments or getups are found.
Miraculous paintings of “Krishna Lila”, “Raga-Raginis”, “Raslila”, “Hunting” and “War of elephants” have been made.
Artist of Jaipur were well versed in garden paintings.
Except Green color, red, yellow, sky and golden colors were used.
It was also the time of general lawlessness and insecurity and laxity of morals and immense luxury. It, therefore, gave rise to a new approach to religion for easing of the conscience. For instance, Raslila of Krishna became “an earthly erotic amusement”. All this was reflected in painting. Although it retained its conventional expressions, the painting became an extravagantly decorative art.

Jodhpur :- Jodhpur developed the pictorial art on its own lines and Mughal stylistic trends to get into the background. From the time of Jodhpur School of Miniature; “Raja Udai Singh” made his peace with the Mughals, the early Rajput trends went out of fashion at the court.
After 1750, however, the Rajput elements began to emerge once again, and thought the later Rajput artists continued to show a preference for Mughal techniques, the art slowly changed into a genuine Rajput style.
The most important Jodhpur illustrations are equestrian portraits of the royal house and the nobility. The Jodhpur and Nagpur paintings show very bold types of expressions with bread, fish eyes in human faces and highly stylized tree types. By the 18th century, the art of Rajasthani paintings had spread to every princely court of Rajasthan.
This school is essentially Hindu in feeling and was inspired by “a renaissance of the popular Hindu culture in the grab of Vaisnavism which from 15th century was dominating the art and literature of the country.
Characteristics :-

In this school of painting very bold expressions were shown in the painting.
Broad, fish like eyes, pleasurable figures of women with heavy red lips were made.
Highly stylized tree types were painted.
Royal house and the nobility were portrayed in abundance.

Titles of Jodhpur Paintings –
Chaugan Players – Dana [Artist]

Some Important Rajasthani Paintings –

Title Painter Sub-school
1. Maru Ragini Sahib din Mewar
2. Raja Anirudh Singh Heera Utkal Ram Bundi
3. Radha (Bani-thani) Nihal Chand Kisangarh
4. Bharat meets Ram at Chitrakut Guman Jaipur
5. Chaugan Players Dana Jodhpur
6. Hindola Raga Dana Jodhpur
7. Rite Abu hamid Bikaner
8. Krishna playing flute
and dancing with gopalas Nuruddin Bikaner

Difference Between Mughal and Rajasthani Paintings –

Mughal

1. Most of the Mughal Painting depict depict imperial or feudal effects.

Rajput

1. Rajput paintings mostly represent village life, literary, love stories, folk dances and religious customs and rites.

Mughal

2. Miniature paintings, elegant manuscripts calligraphy and the borders around paintings are the specialties of this style.

Rajput

2. Rajput paintings have flow, rhythm, the melody and religious expressions.

Mughal

3. Miniature paintings sprang flourished during Mughal painting.

Rajput

3. We find wall paintings in plenty which Sprang and flourished during Rajput period.

Mughal

4. Margins around the paintings were unpressively depicted in elegant manner.

Rajput

4. No margin with leaves and flowers was given importance to the paintings.

Mughal

5. Mostly a picture was painted jointly by three or four artists.

Rajput

5. Rajput paintings was invariably painted by the artists.

Mughal

6. The depiction of birds and animals was done with a view to recreation and amusements.

Rajput

6. The painting of birds and animals were symbolized.

Mughal

7. Portraits of females looked un-natural and disproportionate in Mughal Painting.

Rajput

7. Quite natural and proportionate depiction of female portraits are the essence of Rajasthani paintings.

Mughal

8. Painters have expressed their names in the paintings.

Rajput

8. Painters have not disclosed their identity in Rajput paintings.

Mughal

9. “Shiri-Kalam” of Iran has contributed in the origin of Mughal Art.

Rajput

9. The Ajanta caves and temples are the inspiration of Rajput paintings.

Mughal

10. Mughal painting was based on foreign art originated in Iran.

Rajput

10. Rajput / Rajasthani paintings is totally an indigenous art and is only partially impressed by Mughal Art.



The Pahari School of Miniature Paintings:-

Although the term “Rajput Painting” has often been used to refer solely to the art of Rajasthan, important and quite distinct artistic developments also took place among the small Hindu Kingdoms of the Punjab Hills. This long, narrow region of the Himalayan foothills was split up, like Rajasthan, into many independent states dotting the rich valleys of Chenab. The Ravi, the Beas, the Sutlej and the Yamuna .Most of these states such as Basohli, Chamba, Guler, Jammu, Nurpur, Kulu, Garhwal, Kangra and a couple of others were situated amid snow-clad mountains and exquisite woodland scenery. Their rulers were hereditary Rajput families, related among themselves by marriage or other family ties.
The painting of the hill states, described by the generic name of Pahari Art, was not a sudden development, nor unrelated to the life of the people. It was deeply rooted in the feelings and experiences of the human heart and saturated with the hill man’s poetry, music and religious beliefs.
Love is the inspiration and the main preoccupation of the Pahari School, whether the miniature portray the boyhood pranks of Krishna and his cowherd companions or his amours with Radha, the pageant of the seasons or the modes of music, the principle theme is always provided by the lone of man for woman or of woman for ma, symbolized by Krishna and Radha in the relation of lover and beloved.
In its first phase, this kind of painting developed in the state of Basohli.

Basohli – The Basohli style as found in the reign of Raja Kripal Singh (1678-1694 A.D) appears totally evolved with a strong individual flavour which could have been the assertion of the folk art tradition in conjunction with the Mughal technique.
In the early 18th century, ateliers grew up, all practicing the Basohli style and introducing local elements in its extensive sets, each comprising more than a hundred miniatures, were prepared of the Rasamanjari, the Bhagavata Purana, the Gita-Govinda”, “the Barahmasa” and “Ragamala” themes .The Basohli style with its primitive vigor and fierce vitality, bold lines and brilliant hot colors, continued to be the norm till about 1740 when changing political conditions in northern India vitally affected the art of miniature painting in the Punjab Hills.
With the invasion of India by Nadir Shah, the apathy of Mughal Emperor Muhammad Shah, and the surrender of the Punjab Governor in 1750 to the Afghanistan king “Ahmad Shah Abdali”, the situation in the northern plains was in chaos. A mass movement began of traders, merchants and artists who sought the comparative security of the Hill states.
The new arrivals mingled with the local artists and the refinement born out of their combined talent left its own mark on the work of the hill artists who gradually abandoned the “Savage intensity” of the Basohli school. Two states – Guler and Jammu – appear to have been the important centers of the new school of painting, and the works produced in the changed style belong to what is known as the middle period of Pahari art.

Painting of the Basohli School of Miniature Paintings –

Title School Painter
Krishna with gopies Basohli Manku

Kangra – This school of Arts developed in the reign of king “Sansarchand” of “Kachot” dynasty. This was a romantic style. This style includes the superiority of Mythological pictures and pictures of Hero-heroines of “Reitikal”, (the literary period).
Interest towards the beauty of women, snow-clad mountains and exquisite woodland scenery were pictorised. Cave paintings of this style are remained safe in “KANKHAL”.
The paintings of Kangra exhibit the fine, workmanship of Mughal miniatures; their tones are subdued and the lines are exquisitely fine and melodious, especially in the female figures illustrating the delicate graces of Indian Workman hood. An offshoot of this school was the Sikh school which flourished under Ranjit Singh of Punjab in the 19th century.

Painting of Kangra school:-

Title School Painter
Raga Megha Kangra Sansarchand

The Bengal School of Miniature Paintings:-

Credit goes to the advent of Bengal School of Art to “E.P.Havel” as well as “Shri Avanindra Nath Tagore”. It was “Mr. Havel” who taught Indian students about European art Avanindra Nath introduced a novel form of the traditional Indian school of Art which was called “Novel Art of Revolution”.
Avi Babu was appointed as the Principal of Calcutta Art School in the year 1905. His disciples Nandlal Basu, Devi Pandit. Roy Chaudhary, Samrendra Nath Gupta and Asit Kumar Haldher were later appointed respectively as principals of Shanti Niketan, Madras College of Art and Lucknow College of Arts. In this way a “recreative school” was developed in the country.
“The Taj of Shahjahan”, “Buddha and Sujata”, “Tears on the lotus leaf”, “Forest queen” etc. are the noted creations of Avi Babu.

Following are the remarkable specialties of this school :-

(1) Initially pictorial books of the eminent literatures like Vidyapati and Chandidas were
painted.
(2) Gradually, paintings like the, “Birth of Lord Buddha”, “Mother of Lord Ganesha”,
“Tajmahal”, ”Demise of Shahjahan” etc. were created.
(3) Later on, portraits, public life and landscapes were also prepared and,
(4) Systematic colors were used in this school of painting. It was the originality and novelty that declared Ravindra Nath Tagore as the first artist of Modern Indian Art whose famous creations were entitled “The camel on his death bed”.
Eventually, artist like Amrita Shergil and Yamini Roy evolved a new school, something different from the Bengal School of Art. However it was the fast development in the field of modern art that brought a quick end to the Bengal School of Art.

Renaissance of Indian Painting:-

Nand Lal Bose’s name is synonym with painter of Indian National Movement and Indian Congress as he painted the portraits of National leaders & Swarajya movement and decorated the congress pandals such as at Haripura (Bengal).
Like Nand Lal Bose, some other painters such as Rabindra Nath Tagore, Asit kr. Haldhar painted a number of themes related with fight for Independence.
Their paintings of social unrest of British regime awakened the masses to go for its goal.

Study of following paintings of Bengal School –

Title Painter
1. Journey’s End Avanindra Nath Tagore
2. Parthasarthi Nandlal Bose
3. Radhika M.A.R Chaughati
4. Untitled G.R. Santosh
5. Diagonal Tyeb Mehta
6. Sati Nandlal Bose

Deccan School of Miniature Paintings:-

Deccan school of painting has contributed much in the history of Indian Art of Painting for past 500 years. Infact, Indian Paintings remained safe in Southern India only in the form of Cave Painting between 10th to 14th Century. Exemplary Cave Painting, for example has been found in 9th to 10th Caves of Ajanta.
The Deccan Sultanates had an independent cultured tradition of their own, even before Akbar’s time. The Deccani Schools were contemporary to Mughal painting, though actually deriving their conventional forms from the Vijayanagar and probably from the Bahmani court paintings. “Bijapur” court paintings rose to great heights under Ibrahim Adil shah. “Golconda” portraits show the royal taste in fruits, scented flowers and pets. They were replaced by “Hyderabadi” style, delicate in execution and more in Mughal tradition.

There are 3 main schools in Deccan Paintings, e.g.
(1) Dravid School of Paintings
(2) Vaisar School of Paintings
(3) Nagar School of Paintings
“Nagar School of Painting” is also known as “Aryavarta School of Painting” which actually originated in Northern India and gradually migrated to Southern India, However in South, “Dravida” style has been much more prominent.
Historically, Deccan School of Painting has two phenomenon. Viz, firstly with the advent of Sultans and Emperors of “Vijayanagar” and secondly, with the advent of Emperors of “Bijapur”, “Golconda” and “Ahmednagar” after the decay “Bahmani Emperors” from the close of the 15th century up to the middle of 17th century, Virtually.
Deccan School of Painting came in existence at that very time.
The book entitled ‘Nujum-Al-Ulum’ was painted in the vivid style of Deccan (Bijapore) painting during the reign of “Ismail Adil Shah” between the year 1558 to 1580. Instances are found in the form of wall painting in the premises of “Lord Vardhaman Temple” at “Tirupati Puram (Jin Kanchi)” during 13th and 14th century.

According to Dr. Moti Chandra
1) The art of depicting pillars with color
2) Sharpness and flow in lines
3) Special flexibility as well as speed in figures and
4) The crowns, clothing and ornaments of the early period of Vijay Nagar which are quite different from the clothes and ornaments of Ajanta and Ellora , are quite explicit in the 13th and 14th century Tirupati Puram Paintings.
The branches of Deccan school of Art eventually flourished in the form of subsections of “Hyderabad”, “Pune”, “Kurnool” and “Shorepur (Gulberg)” school of Deccan Painting.
The instances of Deccan Painting are also found in Miniature forms of painting known as “Raga Mala” during 17th century preserved at “Golconda” and Hyderabad Museum. Such paintings may be seen at Asiatic Museum, Amsterdam and Paris Museum as well as replica of Golconda Emperors which has clear impression of Mughal Paintings.
One can see such paintings in the shape of canvas paintings preserved at the Prince of Wales Museum, Mumbai. Mir Hasim and Rahim are the last exponents of such paintings worth mentioning.

Thanjavur: - The Tanjore style of painting was popular from the 17th to 19th centuries, flourishing under the royal patronage of Tanjore’s Maratha rulers. Sarabhoji-II-(1797 to 1833 A.D.) and Shivaji-II-(1833-1858 A.D.), and in Mysore, under Mummadi Krishnaraja Wodeyar (1799 to 1868 A.D.) who restored Hindu rule in the kingdom after the death of Tipu Sultan.
Vishnu, Shiva and Krishna were the favorites of the artists. Traditionally, the painters adhered strictly to the canons of iconography as the paintings were made for ritual and worship and not for display as is mostly the case today.
It takes about three weeks to finish one painting in the Tanjore style. The technique followed is interesting. The paintings are made on jackwood pasted with unbleached cloth (called “gada” in Telugu) to which a mixture of limestone, chalk powder, gum and honey are applied in layers on a sketch of the icon. At this stage, the traditional designs with thousands of dots are embossed with the paste. All surface areas raised in certain sections from the background, such as, sari borders, furniture, drapery and jewellery are given extra coats with the above paste.
Once dry the gems are set in the past, diamonds, pearls and rubies were used and gold leaf pressed onto the painting with glue made of tamarind gum and jaggery. Finally, the decorations are etched.
Tradition dictates also the use of colors which are pure and flat. The background is always painted red and green. Green is also used for drapery and for Parvati’s attire. Baby Krishna is white but as an adult he is depicted blue. The outline of figures is in a dark reddish brown.
According to Art historians, traditional Tanjore art was the product of a people who turned to their Gods and Goddesses for solace and for the assertion of their identity at a time when the native rulers sold themselves to the English.
Although the Tanjore style of painting is not rated as high art, the school none the less has historical importance. The Maratha period to which this art belongs and its aftermath saw the disintegration of the Indian Visual arts tradition until modern art was born.

Important Paintings to be studied –

Title School
1. Raga Hindola Ahmednagar
2. Chand Bibi Golconda
3. Playing polo Golconda
4. Chaugan Golconda

The Modern Era And It’s Painting:-
Modern Era:-With the advent of European and, more specially The British, new development began in the field of painting.
During the later half of 18th century, the painting of Indian artist attracts the attention of the English traders at many places. The east India companies’ merchant began to procure item of Indian art and craft, simultaneously, interested person among them drew the attention of the Indian artist to the technique of water-co lour painting. Artist were required to depict Indian life and scenes but in a medium of the foreigner liking. In such circumstances, artists were required to imitate the English style of panting. Art critics found this tendency dangerous and to them it was the beginning of the degradation of Indian art, since any imitation was suicidal. The “company’s painters” – that became the term for these artists, who worked to satisfy the need of there new master for some economic gain. When combined, the Western technique and the Indian form brought about a synthetic style of a low standard. To that school, no artist of genius belonged.
Towards the end of 19th century, one notable Indian artist “Raja Ravi verma”, tried to reestablish Indian art through western method, technique, principles and traits. He studied the technique of oil painting from the famous European portrait painter “Theodore jenson”. The artist’s chief concern was to reproduce Indian life and since as well as the traditional mythological subject matter in oil painting in western style. “Raja Ravi verma” employed this new medium in painting Indian mythological themes which at once attend wide recognition and through oleographs became popular throughout the country. Critics accuse him of having failed to convey adequate expression of Indian feeling or of the poetic faculty that an Indian allegory ought to be capable of evoking. The controversy of Ravi verma’s paintings was, in a way, responsible for an awakening that led to the emergence of a new and significant artistic movement in Bengal.
Modern Oriented Art:- As it came to be called, “modern oriented art” came up under the effort of “E.B.Havell” who thought art in the 19th century at the Madras school of art and then in Calcutta. “Havell” was of the firm opinion that it was necessary to revive past tradition rather than go in for western art technique. The discovery of the marvels of the Ajanta painting reinforced Indians pride in the past, and the living quality of the picture immediately set up standards of accomplishment with naturally overwhelmed the moderns.
“E.B.Havell” and “Abanindranath Tagore” founded the “Bengal school”. The movement of endeavored to revive the lost values and revitalize the indigenous system. This revivalism had bad effect too for it’s took art back to the subject matter of ancient period. But on the credit side the movement reminded the Indian artists of the style of their ancestor and inspired them to look ahead with confidence. The old and the new could be developed together. A famous disciple of Abanindranath Tagore was Nand lal bose. The artistic creed of the Bengal school was gradually challenged and new developments came.

Impact of Independence on Modern Art:-
It was in the middle of 19th century that the introduction of the camera photography gave a sevier challenge to the Indian art of painting.
Consequently, two major change in the Indian painting of this era were observed, viz;(a)
The background of Naturality and (b) close emotional depiction, each and every artist started depicting his sentiments on canvas based on this new technicalities spared speedily after independence. Indian Painters now proceeded towards “Abstract painting”.
According to Vachaspati Garolla Indian paintings have now-a-days being impressed by the symbolical paintings of France preferred large Canvas discarding miniature paintings and also oil insbad of water colors. Naturally poster school has now-a-days gained ground by way of paintings of enormous size.
Right from Shri.Alagiri Naidu up to Shri.Yatindra Nath Mazumdar painters have mostly preferred modernization and the second wing of artist have preferred a trained towards ancient style showing profound inquisitiveness towards future trends too. There paintings depict a co-ordination between the traditional and the transitional trends. Modern artists in fact have much regards to the present day exploration and inventions.

Some Important Paintings of Modern art:-

Title Painter
1. Rama vanquishing the pride of ocean Raja Ravi Verma
2. Mother and child Jamini Ray
3. Magician Gajendranath Tagore
4. Women face Ravindranath Tagore
5. Tree girls Amrita shergil
6. Mother Teresa M.F. Hussain
7. Farmer’s family M.F. Hussain
8. Birth of poetry K.K.Hebber
9. Gossip N.S.Bendra

STUDY OF THE GRAPHIC PRINT MADE IN THE MODERN ART:-

1} Whirlpools Krishna Reddy
2} Children Somnath Hare
3} OF wall Anupam sood
4} Man, women and tree Lakshman Gaud

Short Notes on Remarkable Paintings:-
1.) Rag Hindola :
Painting : A Deccani Painting of Ragmala Series.
Artist : Unknown
Medium : Tempra (water color) on paper.
Period : 1590-1595 Circa.
School : Ahmednagar School.
Compositions : (a) Use of Orange blue, gold, golden yellow and cream colors.
(b) Bold line Drawing.
Depiction : A woman seated on a swing with her lover during Holi festival, marking
the celebration of spring season and festivity.

2.) Chand Bibi Playing Polo (CHAUGAN) :
Painting : ADeccani Painting.
Artist : Unknown
Medium : Tempra (Water Color) on paper.
Period : 18th Century.
School : Golkonda School.
Compositions : Use of green, yellow, brown & blue colors.
Depiction : Chand Bibi playing polo with her companions. Two white and two black horses are seen being used for polo playing .One lady standing in the middle.
Background : Rocks, huts and trees.
Foreground : Silvery grey lotus lake withaquatic birds.

3.) Falcon on the Bird’s Nest:
Artist : Ustad Mansoor
Period : 1618-1619 A.D. Cirea
School : Jahangir School
Medium : Tempra (water color) on paper.
Subject Matter : This painting was painted by Ustad Mansoor on demand of Jahangir and in memory of the Falcon brought from Persia and mould by cat to death.
The Painting shows the Falcon sitting on a cushioned bird – rest and its one of the cruel eyes is seen
Composition : Fine thin lines are used for painting the Falcon which is painted white against a yellow background – with brown details of its wings & a sharp beak. Its round vigilant eye is painted in light brown and yellow ochare deep color.
Specialty : Three words:-
(i) Jahangir Patashah at top.
(ii) Bahari near the Falcon.
(iii) Uttam on the bottom.

4.) Krishna Lifting Mountain Goverdhana :
Artist : Miskin.
Period : 1585-90 A.D.
School : Akbar School.
Medium : Tempra (Water Color) on paper.
Subject Matter : Vertical Painting.Mount Goverdhana is lifted by Lord Krishna on the little finger of his left hand for providing shelter to the “Brijwasi”, who are seen gathered with their cattle under the mountain Govardhana, deluge caused by angry rain god Indra.
Figures are dead chasm.
Composition: Blue colour is used for sky and dark blue colour is used for painting the mountain. Large sized Lord Krishna’s garments are painted Pitambar (yellow) with large garland of white flowers on it. On the right side of Krishna a tree with bright green colour.

5.) Jahangir holding the picture of Madona:
Artist : Abul Hasan
Period : Circa 1620 A.D.
School : Jahangir School
Medium : Tempera (Water Colour) on paper
Sunject Matter : Young handsome Jahangir is shown holding the picture of Madona in his right hand indicating the love for all religions even for the Christian Missionaries. Jahangir is wearing a red turban.
Composition : Elegant border and beautiful calligraphy in Nastaliq script on all sides of painting. Border highly decorated and is well balanced with flowers.

6.) Rutu – Mandi:
Characters : (i) Folk style of painting.
(ii) Bold drawing.
(iii) Dark and dull colors.
Patronage : Rulers of Mandi.
Propagator : Shri. Bhagwana.
Period : Last quarter of 18th century.
Region : Kulu & Mandi
Painting : Krishna lifting the Goverdhana Parwat, portraits.

7.) Krishna with Gopies:
Artist : Unknown
Period : 1739 A.D.
School : Basohli School of art.
Medium : Tempra (Water Color) on paper.
Depiction : Gopies shown adoring Krishna.
Background : Charming forest of Vrindavan (Orange Color).
Description of theme : Two Gopies are embraced by Krishna while one is reverently touching his feet and another one is holding a white “Chauri”.

8.) Raga Megha:
Artist : Unknown
Period :1739-90 A.D.
School : Kangra School of art.
Medium : Tempra (Water Color) on paper.
Depiction : Lord Krishna dancing with Radha.
Background : Black and grey clouds with two spiral shaped lightening with four white swans are flying.
Foreground : A large platform.
Colors used : Yellow, Orange, Silver & Gold.
Description : Thin lines are used. Three other Gopies are seen with Krishna & Radha. One is with Dholak .One with Mangira and one with veena.

9.) Maru Ragini :
Artist : Sahibdin.
School : Mewar.
Medium : Tempra (Water Colour) on paper.
Period : Circa 18th Century.
Description : The King with his queen riding on a camel back.
Background : Yellow Colour.
Foreground : Light Green Colour.
Category : A Barah Masa Painting.
Description of theme : This miniature shows:-
(a) Camel – riding couple of king & Queen.
(b) King holding a flower in his right hand and looking at the queen who sat behind the king on camel.
(c) Two male escorts running along the camel – riding couple.
(d) A hunting dog was also seen running ahead of two escorting males.
(e) One male attendant leading the camel.
(f) Well – decorated camel.
(g) Dress of all the figures coloured in transparent white color.
(h) Deep blue sky.
(i) Embossing of Maru Shri Ragini on the top of the painting.

10.) Chaugan Players:
Artist : Dana
School : Jodhpur.
Medium : Tempra (water Color) on paper.
Period : Circa 18th Century.
Depiction : Two princes playing Polo with their 4 maids.
Background : A flat green background.
Foreground : Light green landscape.
Category : A Barah Masa Painting.
Description of theme: This miniature shows:-
(a) Two princesses sittin on the back of two different horses, facing each other on upper section of painting.
(b) Four horses with the 4 maids on their back, running in opposite direction while the maids on those horses face each other like the princesses.
(c) Covering of the ball by all the six polosticks.
(d) Ladies figures – high rounded foreheads, eye elongated over the temple of hairs.
(e) Skirts of ladies are bell-shaped , spread on the horses – back.

11.) The evolution of National Flag:
Painting : The evolution of Indian National Flag.
Artist : Unknown
Medium : Colored cloth
Period : 1906-1921-1947.
Description : The painting bears three different kinds of Indian National Flag hoisted at three different times
First Flag : Hoisted in 1906
Has stripes of three colors.
Top Strip : Red coloured strip with eight lotuses embossed on it.
Middle strip : Yellow strip with word “Vande Matram” is dark blue color Devnagri.
Bottom strip : Green strip with a white sun on left and a white crescent moon with a star on right side.

12.) Mother and Child: Painted by Jamini Roy , acontemporary
(Modern) painter with Tempra (Water Color).
This vertical painting depicts a mother and her son with her left hand on
the side of her waist. She is in dancing pose with her left hand blessing her son.
Her shaped face has identical eyes. Son has also identical eyes with thick eyebrows.
The child is totally naked while mother is fully covered in saree. On the one side of
flower pot is seen. Both mother and child are well decorated in ornaments. Mostly green,
red, yellow ochare coloures are used.

13.) Woman Face :- Painted by Rabindranath Tagore with water colour and
inks in 1930-1940 A.D.:- This almost square painting shows the face of a typical woman
with her head covered by her saree.This extremely simple drawing shows talking lips and unbalanced eyes on the soft face of woman.

14.) Three Girls : Painted by Amrita Shergil with oil on canvas in
1935 – 40 A.D. : The Paintings shows triangularly placed
three young girls under the burden of the uncertain future and hopelessness accompanied by sadness as their downcast eyes are helplessly placed hands in their lap indicate.
Girl on the left with slightly dark complexion is in light pink kurta with
blue print and light green Dupatta. Girl on the right side has pale complexion and is
dressed in orangish pink dress.

15.) Triumph of labour :
Artist : Shri. Devi Roy Chaudhary
Medium : Bronze
Date : 1954 A.D.
Collection : National Gallery of Modern
Jaipur House, New Delhi.

General Description :-
As the composition The triumph of labour is a masterpiece. This will remain as an
outstanding example of contemporary Indian sculpture. The four figures in the first group
are perfect anatomical studies of men engaged in a formidable task of lifting a huge
rock. The most distinctive features of this group are its universal appeal and rare
quality of mobility. The sculpture symbolically represent the sacrifice, which Indians
made for winning independence.



Arts Artist Medium Period
Whirl Pool Krishna Reddy Etching 1962
Children Somnath Hare Etching & Aquating 1955-1970
Devi Jyoti Bhatt Etching 1965-75
Of Walls Anupam Sud Lithograph 1982
Man, Woman and Tree Laxmi Gaud Lithograph Modern


Description
This print is etched on a Zinc plate in which water pool was shown with tumultuous waves, converging at centre and ripples in background and foreground. Different shades of blue and green colour was used to show forceful water movement.
Three emaciated children with bloated stomachs and thin ribs are shown with telling effect of hungry children. Their mother is shown having her protective and caring hand on their shoulders. In the foreground a semi clad child is standing wearing a necklace. Different suitable tones of blue grey are used for under nourished children from poor deprived society.
This etching print shows Devi as power of worship and the hidden power of kundalini that can be seen resting at the lowest end of the spine coiled like a female senkant. This power can rise by “Tantra”. Tones of sap green are used on each side of Devi’s head. On the forehead of Devi is a brilliant vermillion bindi.
This lithograph print depict a lady sitting on a pavilion of the wall on one side, while the folk art is printed on the other side of wall. This folk art are simple doll like or childish drawings. In foreground two legs and a foot is visible as a man sleeping near the wall. Wall is painted in brown colour and line of folk art is drawn in white.
The vertic graphic print is three trees in background while in foreground a lady in saree blouse and a man in T-shirt are seen engaged in talking. They seem to be south Indians. Some flowering plants and small trees are there in the front on man. Light blue and green colours are used.


Question Paper
March 2005
Painting Thoery:-
General Instructions:-
Appreciate any Rajasthani miniature included in your causes of study based on its (a) Title (b) Name of the artist (c) Subject matter (d) composition.
Write an essay of the origin and development of the Mughal School of miniature painting.
Write a short note on the subject matter of any one of the following contemporary Indian Sculpture.
(a) Cries Unheard – “Amarnath Sehgal”
(b) Triumph of labor – “D. P. Ray Chaudhary”
(c) Santhal Family – “Ramkinkar Baij”
Why do you like or dislike most any one among all the Rajasthani or Pahari Schools of miniatures included in your course of study. Give your reasons in short.
Mention the names of any three graphic paintings and two paintings of the contemporary Indian Art included in your course of study, which you liked the most.
Mention the names of any five artists of Mughal School of Miniature.

Question Paper
March 2006
Painting Theory:-
General instructions:- All the Six questions are compulsory.
Write an essay on the origin and development of Bengal School of painting.
Describe main features of the Mughal miniatures.
Write short notes on the subject matter of any of the following miniature paintings of Pahari School-
(a) Raga megha
(b) Krishna with Gopies
4. Write a short note on the compositional arrangement of any of the following
contemporary Indian Sculptures.
(a) Cries Unheard
(b) Standing Women
(c) Santhal Family
5. Mention the titles of any five Rajasthani miniatures included in your course of
study which you liked the most.
PAINTING (Theory)
March 2007
General Instructions :
1. Write an essay on the origin and development of the Rajasthani or Pahari schools of miniature painting.
2. Appericiate any Mughal or Deccani miniature painting included in youe course of study based on it’s
(a) Title and name of the artist
(b) Subject matter
(c) Media and technique
(d) Composition
3. How did the Indian artist contribute to the National Freedom Movement?
4. Why do you like/ Dislike the Rajasthani or Pahari miniatures? Give reasons in short.
5. Mention the names of any five painters of the Mughal school of miniature paintings included in your course of study. Whom you like the most?
6. Mention the name of the artist of each of the folo.lowing graphic prints/ Sculptures included in your course of study.
(a) Whirlpool
(b) Children
(c) Triumph of labour
(d) Santhal Family
(e) Cries Unheared.
PAINTING (Theory)
March 2008
General Instructions :
1. Write an essay on the origin and development of the Mughal or Deccan School of Miniature Painting.
2. Which one do you like or dislike most among all the following art-works of the contemporary (Modern) Indian art? Give your reasons in detail based on its (a) Depiction of subject matter, (b) Treatment of the medium and Technique and (c) Compositional Arrangement:
(i) Radhika ( A painting done by M.A.R. Chughtai)
(ii) Of Walls (A graphic print done by Anupam Sud)
(iii) Cries Unheard (A Sculpture done by Amar Nath Sehgal)
3. How far is the painter successful in depicting the subject-matter of any one of the following miniatures?
(i) Bharat meets Rama at Chitrakut (Rajasthani-Jaipur school)
(ii) Raga Megha (Pahari-Kangra school)
4. Write a short note on the compositional-arrangement of any one of the following miniatures :
(i) Krishna lifting Mount Govardhana (Mughal School)
(ii) Raga Hindola (Deccan school)
5. Mention the name of the artist of each of the following art-works of the Contemporary (Modern) Indian Art, included in your course of study :
(a) Journey’s End (A painting)
(b) Mother and Child (A painting)
(c) Devi (A graphic-print)
(d) Figure (A sculpture)
(e) Ganesha (A sculpture)
6. Mention the names of any five painters of the Rajasthani School of miniature Painting included in your course of study, which you like most.



Ask any questions directly from me at my email ID " sumit9vs@gmail.com" .
THANKS...