This mind map is a graphical way to represent ideas and concepts of Rajasthani school of miniature Painting.It is a visual thinking tool that helps structuring information, helping you to better analyze, comprehend, synthesize, recall and generate new ideas.
Pahari miniature painting
Alternative Title: Hill painting. Pahari painting, style of miniature painting and book illustration that developed in the independent states of the Himalayan foothills in India. The style is made up of two markedly contrasting schools, the bold intense Basohli and the delicate and lyrical Kangra.
Mugal painting is a particular style of South Asian, particularly Indian painting confined to miniatures either as book illustrations or as single works to be kept in albums (muraqqa). It emerged from Persian miniature painting (itself partly of Chinese origin) and developed in the court of the Mughal Empire of the 16th to 18th centuries. The Mughal emperors were Muslims and they are credited with consolidating Islam in South Asia, and spreading Muslim (and particularly Persian) arts and culture as well as the faith.[1]
Mughal painting immediately took a much greater interest in realistic portraiture than was typical of Persian miniatures. Animals and plants were the main subject of many miniatures for albums, and were more realistically depicted. Although many classic works of Persian literature continued to be illustrated, as well as Indian works, the taste of the Mughal emperors for writing memoirs or diaries, begun by Babur, provided some of the most lavishly decorated texts, such as the Padshahnama genre of official histories. Subjects are rich in variety and include portraits, events and scenes from court life, wild life and hunting scenes, and illustrations of battles. The Persian tradition of richly decorated borders framing the central image (mostly trimmed in the images shown here) was continued, as was a modified form of the Persian convention of an elevated viewpoint.
The Emperor Shah Jahan standing on a globe, with a halo and European-style putti, c. 1618-19 to 1629.
The Mughal painting style later spread to other Indian courts, both Muslim and Hindu, and later Sikh, and was often used to depict Hindu subjects. This was mostly in northern India. It developed many regional styles in these courts, tending to become bolder but less refined.
The document summarizes the Deccan miniature painting style that developed between 1347-1627 AD in southern India. It originated during the rule of the Bahmani and five Deccani Sultanates of Bidar, Berar, Bijapur, Ahmadnagar and Golkonda. Their rulers greatly patronized the arts. While influenced by Persian and Mughal styles, Deccani paintings had their own distinct features including sturdy trees, expressive Ragamala paintings, and figures combining Persian and Indian elements. The style continued under the Mughals and Nizams of Hyderabad but weakened and some elements survived into the 19th century.
This painting by Guman depicts an episode from the Ramayana where Bharat meets Rama at Chitrakuta. It shows numerous figures including Rama, Sita, Lakshmana, Bharat, Shatrughna and their wives and attendants. Rama is shown dressed in red while the mothers wear white. Bharat and Shatrughna wear pink. The painting portrays the group conversing, with Rama greeting the mothers and making hospitality to the priests. It was painted in Jaipur under the patronage of ruler Sawai Jai Singh in the mid-18th century.
This Mind mapping is simply a diagram of Bengal school of art, used to visually represent or outline information. It is a powerful graphic technique you can use to translate what's in your mind into a visual picture.This mind map will help you better understand and get more visual information faster and better.
A Presentation by Prof. Subramanian Swaminathan on the paintings of Ajanta
Buddhist paintings on the walls and ceilings of the 29 caves in Ajanta are not only the ealiest in India but also the best the subcontinent produced. These are also the forerunniners of religious paintings of India and Indian Asia.
The document discusses the history of sculpture and paintings in India. It notes that some of the earliest sculptures in India date back to the Indus Valley civilization in stone and bronze. As Hinduism, Buddhism, and Jainism developed, India produced intricate bronze sculptures and temple carvings. During the Mughal Empire from the 16th to 19th centuries, Mughal miniature paintings flourished, depicting various scenes and portraits. The paintings combined Persian influences with Indian styles and reached their height during the reigns of Akbar, Jahangir, and Shah Jahan before declining later on. Rajasthani painting also evolved from the Mughal style in the 18th century royal courts of Rajasthan.
Pahari miniature painting
Alternative Title: Hill painting. Pahari painting, style of miniature painting and book illustration that developed in the independent states of the Himalayan foothills in India. The style is made up of two markedly contrasting schools, the bold intense Basohli and the delicate and lyrical Kangra.
Mugal painting is a particular style of South Asian, particularly Indian painting confined to miniatures either as book illustrations or as single works to be kept in albums (muraqqa). It emerged from Persian miniature painting (itself partly of Chinese origin) and developed in the court of the Mughal Empire of the 16th to 18th centuries. The Mughal emperors were Muslims and they are credited with consolidating Islam in South Asia, and spreading Muslim (and particularly Persian) arts and culture as well as the faith.[1]
Mughal painting immediately took a much greater interest in realistic portraiture than was typical of Persian miniatures. Animals and plants were the main subject of many miniatures for albums, and were more realistically depicted. Although many classic works of Persian literature continued to be illustrated, as well as Indian works, the taste of the Mughal emperors for writing memoirs or diaries, begun by Babur, provided some of the most lavishly decorated texts, such as the Padshahnama genre of official histories. Subjects are rich in variety and include portraits, events and scenes from court life, wild life and hunting scenes, and illustrations of battles. The Persian tradition of richly decorated borders framing the central image (mostly trimmed in the images shown here) was continued, as was a modified form of the Persian convention of an elevated viewpoint.
The Emperor Shah Jahan standing on a globe, with a halo and European-style putti, c. 1618-19 to 1629.
The Mughal painting style later spread to other Indian courts, both Muslim and Hindu, and later Sikh, and was often used to depict Hindu subjects. This was mostly in northern India. It developed many regional styles in these courts, tending to become bolder but less refined.
The document summarizes the Deccan miniature painting style that developed between 1347-1627 AD in southern India. It originated during the rule of the Bahmani and five Deccani Sultanates of Bidar, Berar, Bijapur, Ahmadnagar and Golkonda. Their rulers greatly patronized the arts. While influenced by Persian and Mughal styles, Deccani paintings had their own distinct features including sturdy trees, expressive Ragamala paintings, and figures combining Persian and Indian elements. The style continued under the Mughals and Nizams of Hyderabad but weakened and some elements survived into the 19th century.
This painting by Guman depicts an episode from the Ramayana where Bharat meets Rama at Chitrakuta. It shows numerous figures including Rama, Sita, Lakshmana, Bharat, Shatrughna and their wives and attendants. Rama is shown dressed in red while the mothers wear white. Bharat and Shatrughna wear pink. The painting portrays the group conversing, with Rama greeting the mothers and making hospitality to the priests. It was painted in Jaipur under the patronage of ruler Sawai Jai Singh in the mid-18th century.
This Mind mapping is simply a diagram of Bengal school of art, used to visually represent or outline information. It is a powerful graphic technique you can use to translate what's in your mind into a visual picture.This mind map will help you better understand and get more visual information faster and better.
A Presentation by Prof. Subramanian Swaminathan on the paintings of Ajanta
Buddhist paintings on the walls and ceilings of the 29 caves in Ajanta are not only the ealiest in India but also the best the subcontinent produced. These are also the forerunniners of religious paintings of India and Indian Asia.
The document discusses the history of sculpture and paintings in India. It notes that some of the earliest sculptures in India date back to the Indus Valley civilization in stone and bronze. As Hinduism, Buddhism, and Jainism developed, India produced intricate bronze sculptures and temple carvings. During the Mughal Empire from the 16th to 19th centuries, Mughal miniature paintings flourished, depicting various scenes and portraits. The paintings combined Persian influences with Indian styles and reached their height during the reigns of Akbar, Jahangir, and Shah Jahan before declining later on. Rajasthani painting also evolved from the Mughal style in the 18th century royal courts of Rajasthan.
by Aayushi Shrimali And Akanksha Manna (University of Delhi) (kalindi college)History Hons /3rd year
origin
background
jahangir
shahjahan
later mughal school ,prominent painters and influences
Mughal Miniature paintings are one of the most long-standing types of art that are still available for purchase today, and any piece can be a fantastic addition to a collection or stand on its own as a stunning piece of Indian historical art.
Ajanta paintings _ Traditions and Techniques.Jeevan Lal
The document provides information about the Ajanta caves located in Maharashtra, India. It discusses the two phases of construction - the Hinayana period from 2nd-1st century BC and the later Mahayana period from 4th-6th century AD. During the first phase, the earliest caves were excavated under the Satavahana dynasty and depictions of the Buddha were through symbols. The second phase saw greater artistic activity with sculptures and paintings of the Buddha added. The caves contain detailed fresco paintings on the walls and ceilings depicting Buddhist stories and themes. Techniques like multiple vision and animnonnata were used to provide an illusion of depth. Over time the paintings declined in quality
Deccani painting flourished in peninsular India under the Deccani sultanates from the late 16th century. It blended indigenous and foreign styles, using rich colors like gold and white. Persian influence is seen in the floral backgrounds and landscapes. Distinct styles emerged in different sultanates, like Ahmednagar, Bijapur, Golconda, and Hyderabad. Golconda paintings from the 16th-17th century often depicted dancing girls and musicians at court. Hyderabad paintings after 1724 showed royal figures and daily life. Notable works are displayed at the National Museum in New Delhi.
The Patna/Company school was a style of painting that developed in India between 1770-1850 under the patronage of the British East India Company. Indian artists working for the Company blended Mughal and Rajput miniature techniques with European styles and mediums like watercolor and sepia wash. Key centers for Company painting included Patna, Murshidabad, Lucknow, and Calcutta. The paintings featured realistic depictions of flora and fauna, ceremonies, portraits, and daily life. Common artists working in this style included Hulasram, Fakir Chand Lal, and Jhoomak Lal. The Company painting style declined after 1840 with the rise of photography in India.
This document provides an overview of Company School paintings created in India during British colonial rule between the 18th and 19th centuries. It discusses how British patrons commissioned Indian artists to depict scenes of everyday life, occupations, ceremonies, and wildlife. The paintings combined Western techniques like linear perspective with traditional Indian styles of miniature painting. Company paintings serve as valuable historical records of colonial India and helped spread images of Indian culture to European audiences. The document concludes with descriptions and analyses of 12 examples of Company paintings showcasing various subjects and styles.
Abanindranath Tagore was a prominent Indian artist born in 1871 in Bengal, British India. He was a key figure in the Bengal school of art and helped modernize traditional Indian art forms. Tagore drew influence from Mughal and Rajput styles and focused on themes from Hindu philosophy and mythology in his paintings. Some of his most famous works include Ganesh Janani, Bharat Mata, The Victory of Buddha, and The Passing of Shah Jahan. Tagore played a pivotal role in developing a swadeshi form of Indian art.
This document summarizes several traditional Indian painting styles, including Rajasthani, Mysore, Tanjore, Madhubani, Pattachitra, Kalamkari, and Mughal paintings. Rajasthani paintings depict themes from Hindu epics and mythology using mineral and plant-derived colors. Mysore paintings originate from the town of Mysore and feature Hindu gods and goddesses. Tanjore paintings serve as religious icons with vivid colors and compositions. Madhubani paintings feature mythology and nature from the Mithila region of Bihar. Pattachitra paintings are inspired by Hindu mythology from Odisha and use vegetable colors. Kalamkari paintings feature scenes from mythology using
The document provides information on the history of painting in India from prehistoric to Mughal periods. It discusses paintings found in ancient cave sites like Ajanta and Ellora dating from 2nd century BC to 10th century AD depicting religious themes. The Mughal style evolved under Akbar in the 16th century by synthesizing indigenous Indian and Persian styles, known for naturalism and fine detail. Major painting traditions across India are described, along with materials and techniques used.
Indian paintings have a long history, dating back to prehistoric times as seen in the Bhimbetka caves. Regional styles developed over centuries influenced by religion and local traditions. Notable early examples include paintings from the Ajanta, Bagh, and Sittanavasal caves dating from the 3rd century BC to 7th century AD, showing scenes from daily life, mythology, and religion. While styles varied by region and time, a remarkable unity in concepts and techniques is seen across Indian paintings.
Abanindranath Tagore was a prominent Indian artist and member of the distinguished Tagore family. He was one of the founders of the Bengal school of art, which aimed to modernize traditional Indian art styles like Mughal and Rajput paintings in response to growing Western influence. Tagore developed an interest in art as a student and was influenced by Mughal styles, incorporating them into his paintings of Hindu themes. He believed in adapting Indian artistic traditions to express Hindu philosophy and promote Indian national culture. Tagore taught many other influential Indian artists and is regarded as a pioneer in the development of a distinctive Indian painting style.
Mughal painting emerged from Persian, Mongolian, Indian, and Islamic styles during the Mughal Empire in South Asia. It gained prominence during the rule of Akbar, Shah Jahan, and Jahangir in the 16th-17th centuries as they patronized works depicting court scenes, battles, wildlife, portraits and more. The style was influenced by two Persian artists, Mir-Sayyid and Abd-us-samad, brought to India by Emperor Humayun when he returned from exile. Key works that established the Mughal style include the 14th century Persian manuscript 'Tales of the Parrot'. The style later declined with the rise of the Rajput style during the 18th
Mughal art and architecture - Thesmi ThomasThesmi Thomas
The slide give a basic idea about the lifestyle of during Mughal rule. This slide mainly focus on Mughal architecture, Mughal music, Mughal literature and Mughal paintings.
history of Indian art and its evolution. Shankar Rao
Indian painting has a long tradition dating back to ancient rock paintings. There are several genres of Indian paintings that developed over time, including murals from the 2nd century BC to 10th century AD, miniatures from the 11th to 12th century, Mughal paintings from the 16th to 19th century that blended Indian, Persian, and Islamic styles, and Rajput paintings from the 17th century in western India. Regional styles also emerged like Mysore, Tanjore, Kangra, and Pattachitra paintings in South India focused on Hindu gods and mythology. Modern Indian paintings from the 20th century onward became more realistic and expressional, while 3D paintings are now popular in the 21st
Company style paintings blended Indian and European artistic traditions. They were produced in India under European patronage in the 18th-19th centuries. The style combined traditional Rajput and Mughal techniques with Western perspective and realism. Most paintings were small miniatures, though natural history works were life-sized. Major centers included cities with British settlements. Famous works include the Delhi Book and Fraser Album, which documented Mughal court life. Paintings were typically created on paper for albums in a hybrid Indo-European style.
Symbolism and various art movements have played an important role in Indian art traditions. The Samikshavad movement in the 1970s aimed to free art from personal obligations and socialize it. The Bengal School of Art reacted against academic styles by looking to medieval Indian traditions like paintings from Ajanta and Bagh caves. It sought to develop a genuine Indian style and identity for art. Major influencers included the Mughal, French, and British empires, while prominent artists involved Abanindranath Tagore, Amrita Sher-Gil, and Jamini Roy.
The Kushana period from 50-320 AD saw the rise of two major schools of art in northern India - the Mathura school and the Gandhara school. The Mathura school produced indigenous stone sculptures focused on Hindu and Jain themes, depicting deities like Vishnu, Shiva and the Tirthankaras in a spiritual style. The Gandhara school was influenced by Greco-Roman styles and produced realistic sculptures of Buddha in grey schist, combining Indian and Hellenistic techniques. Major themes included Buddha's life events. The Kushanas promoted religious tolerance, with Buddhism flourishing under patron Kanishka.
This document summarizes a summer project about the present state of artists and art in the region of Ranti, Bihar, India. The project involved surveys, interviews, and research to understand the status of art and artists. It describes traditional Mithila painting techniques and major organizations supporting artisans, including the Gram Vikas Parishad NGO. The document also profiles three female artists - Sudha Devi, Rani Jha, and Ratna Kumari - and recognizes the achievements of the renowned artist Godavari Dutt. It highlights issues faced by artists like lack of awareness of support schemes and need for sustainable income and employment opportunities.
Jataks stories are the common themes in Ajanta paintings. Mahajanak Jataka painted in Cave One is one of the important compositions.
A Presentation byf Prof. Subramanian Swaminathan on the paintings of Ajanta.
The document provides details about the Rajasthani school of miniature painting from the 16th to 19th century. It originated in Mewar (Udaipur) and had sub-schools in various Rajasthani regions including Mewar, Jodhpur, Bikaner, Kishangarh, Jaipur, and Bundi. The paintings featured themes from Hindu texts and depicted daily life. Each sub-school had distinguishing artistic features and notable artists and works. The document examines examples from various sub-schools in terms of subject, composition, and stylistic qualities.
The Mughal School of Miniature Painting originated in Persia and flourished in India over three centuries. Notable emperors like Akbar and Jahangir patronized the art. Key characteristics included realistic historical scenes, fine linear detail, decorative borders, profile faces, and beautiful depictions of nature, animals, and religious themes. Four iconic Mughal paintings are summarized: Krishna Lifting Mount Goverdhana depicts the Hindu deity effortlessly holding the mountain. Falcon on the Bird-Rest shows a falcon painted with great realistic detail. Kabir and Raidas portrays the simple lives of the saintly figures. Marriage Procession of Dara Shikoh features the heir's wedding procession
by Aayushi Shrimali And Akanksha Manna (University of Delhi) (kalindi college)History Hons /3rd year
origin
background
jahangir
shahjahan
later mughal school ,prominent painters and influences
Mughal Miniature paintings are one of the most long-standing types of art that are still available for purchase today, and any piece can be a fantastic addition to a collection or stand on its own as a stunning piece of Indian historical art.
Ajanta paintings _ Traditions and Techniques.Jeevan Lal
The document provides information about the Ajanta caves located in Maharashtra, India. It discusses the two phases of construction - the Hinayana period from 2nd-1st century BC and the later Mahayana period from 4th-6th century AD. During the first phase, the earliest caves were excavated under the Satavahana dynasty and depictions of the Buddha were through symbols. The second phase saw greater artistic activity with sculptures and paintings of the Buddha added. The caves contain detailed fresco paintings on the walls and ceilings depicting Buddhist stories and themes. Techniques like multiple vision and animnonnata were used to provide an illusion of depth. Over time the paintings declined in quality
Deccani painting flourished in peninsular India under the Deccani sultanates from the late 16th century. It blended indigenous and foreign styles, using rich colors like gold and white. Persian influence is seen in the floral backgrounds and landscapes. Distinct styles emerged in different sultanates, like Ahmednagar, Bijapur, Golconda, and Hyderabad. Golconda paintings from the 16th-17th century often depicted dancing girls and musicians at court. Hyderabad paintings after 1724 showed royal figures and daily life. Notable works are displayed at the National Museum in New Delhi.
The Patna/Company school was a style of painting that developed in India between 1770-1850 under the patronage of the British East India Company. Indian artists working for the Company blended Mughal and Rajput miniature techniques with European styles and mediums like watercolor and sepia wash. Key centers for Company painting included Patna, Murshidabad, Lucknow, and Calcutta. The paintings featured realistic depictions of flora and fauna, ceremonies, portraits, and daily life. Common artists working in this style included Hulasram, Fakir Chand Lal, and Jhoomak Lal. The Company painting style declined after 1840 with the rise of photography in India.
This document provides an overview of Company School paintings created in India during British colonial rule between the 18th and 19th centuries. It discusses how British patrons commissioned Indian artists to depict scenes of everyday life, occupations, ceremonies, and wildlife. The paintings combined Western techniques like linear perspective with traditional Indian styles of miniature painting. Company paintings serve as valuable historical records of colonial India and helped spread images of Indian culture to European audiences. The document concludes with descriptions and analyses of 12 examples of Company paintings showcasing various subjects and styles.
Abanindranath Tagore was a prominent Indian artist born in 1871 in Bengal, British India. He was a key figure in the Bengal school of art and helped modernize traditional Indian art forms. Tagore drew influence from Mughal and Rajput styles and focused on themes from Hindu philosophy and mythology in his paintings. Some of his most famous works include Ganesh Janani, Bharat Mata, The Victory of Buddha, and The Passing of Shah Jahan. Tagore played a pivotal role in developing a swadeshi form of Indian art.
This document summarizes several traditional Indian painting styles, including Rajasthani, Mysore, Tanjore, Madhubani, Pattachitra, Kalamkari, and Mughal paintings. Rajasthani paintings depict themes from Hindu epics and mythology using mineral and plant-derived colors. Mysore paintings originate from the town of Mysore and feature Hindu gods and goddesses. Tanjore paintings serve as religious icons with vivid colors and compositions. Madhubani paintings feature mythology and nature from the Mithila region of Bihar. Pattachitra paintings are inspired by Hindu mythology from Odisha and use vegetable colors. Kalamkari paintings feature scenes from mythology using
The document provides information on the history of painting in India from prehistoric to Mughal periods. It discusses paintings found in ancient cave sites like Ajanta and Ellora dating from 2nd century BC to 10th century AD depicting religious themes. The Mughal style evolved under Akbar in the 16th century by synthesizing indigenous Indian and Persian styles, known for naturalism and fine detail. Major painting traditions across India are described, along with materials and techniques used.
Indian paintings have a long history, dating back to prehistoric times as seen in the Bhimbetka caves. Regional styles developed over centuries influenced by religion and local traditions. Notable early examples include paintings from the Ajanta, Bagh, and Sittanavasal caves dating from the 3rd century BC to 7th century AD, showing scenes from daily life, mythology, and religion. While styles varied by region and time, a remarkable unity in concepts and techniques is seen across Indian paintings.
Abanindranath Tagore was a prominent Indian artist and member of the distinguished Tagore family. He was one of the founders of the Bengal school of art, which aimed to modernize traditional Indian art styles like Mughal and Rajput paintings in response to growing Western influence. Tagore developed an interest in art as a student and was influenced by Mughal styles, incorporating them into his paintings of Hindu themes. He believed in adapting Indian artistic traditions to express Hindu philosophy and promote Indian national culture. Tagore taught many other influential Indian artists and is regarded as a pioneer in the development of a distinctive Indian painting style.
Mughal painting emerged from Persian, Mongolian, Indian, and Islamic styles during the Mughal Empire in South Asia. It gained prominence during the rule of Akbar, Shah Jahan, and Jahangir in the 16th-17th centuries as they patronized works depicting court scenes, battles, wildlife, portraits and more. The style was influenced by two Persian artists, Mir-Sayyid and Abd-us-samad, brought to India by Emperor Humayun when he returned from exile. Key works that established the Mughal style include the 14th century Persian manuscript 'Tales of the Parrot'. The style later declined with the rise of the Rajput style during the 18th
Mughal art and architecture - Thesmi ThomasThesmi Thomas
The slide give a basic idea about the lifestyle of during Mughal rule. This slide mainly focus on Mughal architecture, Mughal music, Mughal literature and Mughal paintings.
history of Indian art and its evolution. Shankar Rao
Indian painting has a long tradition dating back to ancient rock paintings. There are several genres of Indian paintings that developed over time, including murals from the 2nd century BC to 10th century AD, miniatures from the 11th to 12th century, Mughal paintings from the 16th to 19th century that blended Indian, Persian, and Islamic styles, and Rajput paintings from the 17th century in western India. Regional styles also emerged like Mysore, Tanjore, Kangra, and Pattachitra paintings in South India focused on Hindu gods and mythology. Modern Indian paintings from the 20th century onward became more realistic and expressional, while 3D paintings are now popular in the 21st
Company style paintings blended Indian and European artistic traditions. They were produced in India under European patronage in the 18th-19th centuries. The style combined traditional Rajput and Mughal techniques with Western perspective and realism. Most paintings were small miniatures, though natural history works were life-sized. Major centers included cities with British settlements. Famous works include the Delhi Book and Fraser Album, which documented Mughal court life. Paintings were typically created on paper for albums in a hybrid Indo-European style.
Symbolism and various art movements have played an important role in Indian art traditions. The Samikshavad movement in the 1970s aimed to free art from personal obligations and socialize it. The Bengal School of Art reacted against academic styles by looking to medieval Indian traditions like paintings from Ajanta and Bagh caves. It sought to develop a genuine Indian style and identity for art. Major influencers included the Mughal, French, and British empires, while prominent artists involved Abanindranath Tagore, Amrita Sher-Gil, and Jamini Roy.
The Kushana period from 50-320 AD saw the rise of two major schools of art in northern India - the Mathura school and the Gandhara school. The Mathura school produced indigenous stone sculptures focused on Hindu and Jain themes, depicting deities like Vishnu, Shiva and the Tirthankaras in a spiritual style. The Gandhara school was influenced by Greco-Roman styles and produced realistic sculptures of Buddha in grey schist, combining Indian and Hellenistic techniques. Major themes included Buddha's life events. The Kushanas promoted religious tolerance, with Buddhism flourishing under patron Kanishka.
This document summarizes a summer project about the present state of artists and art in the region of Ranti, Bihar, India. The project involved surveys, interviews, and research to understand the status of art and artists. It describes traditional Mithila painting techniques and major organizations supporting artisans, including the Gram Vikas Parishad NGO. The document also profiles three female artists - Sudha Devi, Rani Jha, and Ratna Kumari - and recognizes the achievements of the renowned artist Godavari Dutt. It highlights issues faced by artists like lack of awareness of support schemes and need for sustainable income and employment opportunities.
Jataks stories are the common themes in Ajanta paintings. Mahajanak Jataka painted in Cave One is one of the important compositions.
A Presentation byf Prof. Subramanian Swaminathan on the paintings of Ajanta.
The document provides details about the Rajasthani school of miniature painting from the 16th to 19th century. It originated in Mewar (Udaipur) and had sub-schools in various Rajasthani regions including Mewar, Jodhpur, Bikaner, Kishangarh, Jaipur, and Bundi. The paintings featured themes from Hindu texts and depicted daily life. Each sub-school had distinguishing artistic features and notable artists and works. The document examines examples from various sub-schools in terms of subject, composition, and stylistic qualities.
The Mughal School of Miniature Painting originated in Persia and flourished in India over three centuries. Notable emperors like Akbar and Jahangir patronized the art. Key characteristics included realistic historical scenes, fine linear detail, decorative borders, profile faces, and beautiful depictions of nature, animals, and religious themes. Four iconic Mughal paintings are summarized: Krishna Lifting Mount Goverdhana depicts the Hindu deity effortlessly holding the mountain. Falcon on the Bird-Rest shows a falcon painted with great realistic detail. Kabir and Raidas portrays the simple lives of the saintly figures. Marriage Procession of Dara Shikoh features the heir's wedding procession
Madhubani painting originated in the Mithila region of Bihar, India near Madhubani town. The tradition of painting local myths and gods on walls and floors began centuries ago but was encouraged to shift to paper in the mid-20th century. Notable artists such as Jagadamba Devi helped popularize the intricate, colorful style depicting themes from Hindu epics and mythology. Natural dyes produce the bright hues without shading in the distinctive Madhubani art.
1) The document discusses the 12th century Sanskrit poem Gitagovindam written by Jayadeva, which depicts the divine love between Radha and Krishna through song, narrative, and drama.
2) It provides background on Jayadeva and the context in which he wrote, including serving as a court poet in Orissa.
3) The poem is analyzed in terms of its structure across 12 parts, with songs expressing the emotions of characters like Radha and interspersed narrative.
4) Interpretations of Krishna's divine plays or "rasalilas" with the gopis are discussed, with spiritual meanings proposed regarding the merging of individual souls with the supreme soul
Art culture l3_ishani_paintings_dance_puppetryYuganshu Sharma
The document provides an overview of visual arts in India, including architecture, sculpture, pottery, and painting. It discusses major periods and styles of Indian architecture and sculpture from ancient to modern times. It also covers the two main types of traditional Indian painting - mural paintings found in caves and temples, and miniature paintings created for manuscripts. Specific painting styles are examined such as the Mughal, Rajasthani, Pahari, and regional Deccani, Basohli, Guler, and Kangra styles. Key features and influences of each period and school of art are summarized.
Bani Thani is an Indian painting from the Kishangarh school depicting the singer and poet Bani Thani. She was believed to be the mistress and later one of the wives of King Sawant Singh of Kishangarh. The painting depicts her with elongated and graceful features typical of the Kishangarh style, including arched eyebrows and pointed chin. Bani Thani came to be known as 'the decked-out lady' because of her exquisite jewelry and makeup after becoming queen.
This document provides an overview of several traditional Indian art forms: Tanjore paintings known for religious themes and use of gold leaf; Madhubani paintings characterized by bright colors and line drawings; Warli folk paintings done in white with red and yellow dots depicting social events; Pattachitra paintings on canvas with mythological themes and natural pigments; Rajasthani miniature paintings depicting court scenes in fine detail with precious materials; and Kalamezhuthu floor drawings in South Indian temples following religious rules with plant-based colors.
Rajasthan is known for its unique art and culture that is reflected in its architecture such as ornate palaces, forts, and intricately carved temples. The region has many traditional art forms that include paintings, carvings, and handicrafts. Some of the major art forms discussed are Rajput paintings, Gond paintings, Mandana wall paintings, Thapa hand prints, and Blue pottery. Sanjhi art originated in Mathura as a folk tradition of making stencil-based rangoli designs, especially depicting scenes from Krishna's life. It is considered a refined spiritual art form but the number of practicing artisans was declining until recent conservation efforts.
The document provides an overview of visual arts in India, dividing it into three main categories: visual arts, performing arts, and miscellaneous arts. It focuses on visual arts such as architecture, sculpture, pottery, and painting. Key highlights include a discussion of architectural styles from ancient to modern periods. It also summarizes major schools of Indian painting such as Mughal, Rajasthani, Deccan, and Pahari styles. Regional schools of painting from states like Rajasthan, Kangra valley, and Basohli are described in terms of their themes, techniques and stylistic features.
The document discusses several folk painting styles found in India including Warli, Phad, Kalamkari, Patachitra, Patua, Kalighat, Madhubani, Rajasthani, Mysore, and Tanjore paintings. It also summarizes some important cave paintings sites in India such as Ajanta Caves, Bagh Caves, and Jain Caves, describing their key characteristics, themes, and historical context.
Pichwai painting is a traditional fabric painting style originating in Rajasthan, India. It developed as decorative backdrops used in the Shrinathji temple in Nathdwara. Pichwais depict scenes from Krishna's life and are painted in rich colors on handspun cotton cloth. They can be created through painting, block printing, embroidery, or applique. Each Pichwai is designed to set the mood for different religious festivals and seasons. Nathdwara and Udaipur are important centers for Pichwai painting, with strict techniques followed for portraying figures like Krishna and decorative elements.
Indian culture is characterized by its diversity and unique traditions that have developed over thousands of years. It has been influenced by various empires and retains a blend of religious, artistic, linguistic and culinary practices. Some aspects that represent Indian culture include colorful festivals, classical dance forms, renowned sculptures and temples, ayurvedic practices like yoga, varied cuisines that use spices, and traditional clothing. The culture has absorbed external influences while maintaining core traditions, allowing it to remain relevant in modern times.
Folk theatre is an effective medium of communication that has evolved in societies around the world. It utilizes traditional performing arts like folk music, dance, and theatre to convey messages and transform cultures. The document discusses several examples of folk theatre in India - Jatra in Bengal/Odisha, Yakshagana in Karnataka, Powada in Maharashtra, and Bhabai in Gujarat. These folk art forms communicate through storytelling, music, dance, and dialogue to educate audiences on social issues while preserving regional traditions over generations. Folk theatre has been used as a tool for development communication in India on topics such as family planning, literacy, and exposing social evils.
Introduction to India: Geography, Race, Language, Caste system, Religion.
1. Ancient Indian Literature
2. Medieval Indian Literature
3. Modern Indian Literature
4. Contemporary Indian Literature
5. Characteristics of Indian Literature
6. Influences on Southest Asian Literature
The Deccan School of Miniature Painting originated in 1560 in the Deccan region of India. It flourished under the patronage of the Ahmadnagar, Bijapur, and Golconda sultanates after Mughal artists migrated there following Aurangzeb's expulsion from the Mughal Empire. Deccani paintings were distinctive for their bold compositions and vivid colors, and incorporated influences from both the Mughal and Persian artistic traditions. Two key examples presented are "Hazrat Nizamuddin Auliya and Amir Khusro" from the Hyderabad style and "Chand Bibi Playing Polo" from the Golconda style.
Raja Ravi Varma was considered one of the greatest painters in Indian art history. His paintings fused Indian traditions with techniques of European academic art. He was the first Indian artist to depict Indian gods and mythological characters in natural, earthy settings using European realism. Some of his famous works included scenes from the Ramayana and Mahabharata as well as portraits and regional art. He was exceptionally skilled at portraying light, shadow, and emotion. Raja Ravi Varma influenced Indian art until his death in 1906.
Madhubani painting originates from villages in Bihar, India. Traditionally done by women on cloth, paper, and canvas, it depicts Hindu religious motifs and deities as well as nature. Though the art form is ancient, it gained recognition in the 1960s when economic hardship forced artists to sell their works. Made using brushes and natural dyes derived from plants, there are different styles - the Brahmin style uses vibrant colors depicting gods, while the Tattoo style of lower castes uses bright colors showing flora and fauna. Modern demand has increased commercialization, but some argue this harms the art form's essence and aesthetics.
The Indira Gandhi National Centre for the Arts has built a significant collection of objects related to the Ramayana epic from across India and other countries. The collection includes Nakshi dolls depicting Ramayana characters from Andhra Pradesh, a Ram Durbar carving from Andhra Pradesh and statues from Jaipur marble. The collection also features masks, puppets, paintings and other art forms illustrating Ramayana stories from various regions of India as well as countries like Thailand and Bali. The center aims to preserve cultural heritage and art forms related to the widely adapted Ramayana story through its archival collections, exhibitions and research.
Krishna dances with the Gopis (cowherd girls) in a circle, with each Gopi believing Krishna is dancing only with her. This depicts the spiritual experience of individual souls feeling a unique connection to the divine. The poem Gitagovindam by Jayadeva celebrates Krishna and his romantic relationships, but also serves as an allegory for the longing of the human soul for union with the divine. Depictions of Krishna and Radha range from the spiritual to the erotic, depending on the perspective and interpretation of the viewer.
Gonds are a tribal community presently settled in parts of Madhya Pradesh, Chhatisgarh and Maharashtra. They speak native Gond language and have their own particular style of painting. In this art project, we've gone through some unifying aspects of Gond art.
Web link: https://www.youtube.com/watch?v=F26QJUEKHCI&noredirect=1
Team members: Ahsen, Himanshu, Harkirat, Teja and Hrashikesh
Similar to Rajasthan miniature painting.. (1) (20)
This document announces the winners of the 2024 Youth Poster Contest organized by MATFORCE. It lists the grand prize and age category winners for grades K-6, 7-12, and individual age groups from 5 years old to 18 years old.
❼❷⓿❺❻❷❽❷❼❽ Dpboss Kalyan Satta Matka Guessing Matka Result Main Bazar chart Final Matka Satta Matta Matka 143 Kalyan Chart Satta fix Jodi Kalyan Final ank Matka Boss Satta 143 Matka 420 Golden Matka Final Satta Kalyan Penal Chart Dpboss 143 Guessing Kalyan Night Chart
KALYAN MATKA | MATKA RESULT | KALYAN MATKA TIPS | SATTA MATKA | MATKA.COM | MATKA PANA JODI TODAY | BATTA SATKA | MATKA PATTI JODI NUMBER | MATKA RESULTS | MATKA CHART | MATKA JODI | SATTA COM | FULL RATE GAME | MATKA GAME | MATKA WAPKA | ALL MATKA RESULT LIVE ONLINE | MATKA RESULT | KALYAN MATKA RESULT | DPBOSS MATKA 143 | MAIN MATKA
❼❷⓿❺❻❷❽❷❼❽ Dpboss Matka ! Fix Satta Matka ! Matka Result ! Matka Guessing ! Final Matka ! Matka Result ! Dpboss Matka ! Matka Guessing ! Satta Matta Matka 143 ! Kalyan Matka ! Satta Matka Fast Result ! Kalyan Matka Guessing ! Dpboss Matka Guessing ! Satta 143 ! Kalyan Chart ! Kalyan final ! Satta guessing ! Matka tips ! Matka 143 ! India Matka ! Matka 420 ! matka Mumbai ! Satta chart ! Indian Satta ! Satta King ! Satta 143 ! Satta batta ! Satta मटका ! Satta chart ! Matka 143 ! Matka Satta ! India Matka ! Indian Satta Matka ! Final ank
Fashionista Chic Couture Maze & Coloring Adventures is a coloring and activity book filled with many maze games and coloring activities designed to delight and engage young fashion enthusiasts. Each page offers a unique blend of fashion-themed mazes and stylish illustrations to color, inspiring creativity and problem-solving skills in children.
4. Factors contributing in Rajasthani Miniature painting
Rajasthani Miniature
painting
Western
Painting
Jain
Manuscript
painting
Gujarat style
Mughal
Miniature
Painting
5. Topics of Rajasthan Miniature Painting
• Nayak Nayika bheda (classification of heros and heroines
• Folk lores
• Ballads (dhola-maru, Sohni-Mahinwal, Laur-chanda
• potraits
• Court scene
• Daily activities
• Musical concerts
6. Division of Rajput miniature painting
Rajput Miniature Painting
Rajasthani school of Miniature Pahari school of Miniature
7. Components /
Features
Bold outline Brilliant color Harmonious pattern Symbolic expression
Multiple aesthetic
sentiment of Indian Life
Daily
activities
Sudden flash of
emotional
thoughts
Clear & simple
composition
Musical representation Religious representation
No perspective
Figures are in same
dimension
Flat colours
10. Mewar
“Supasanachariyam” &
“Suparsanatham”
Oldest manuscript
1423 A.D
Apabhransa style
“Ragamala” series by Rana
Pratap
Real beginning of Mewar
painting 1571 A.D
Main topic
“Krishna Bhakti Cult”
Two artist
Sahibdin & Manohar
Other topics:
Ragamala, Nayika Bheda,
Bhagavat puran, Ramayana,
social and cultural life,
daily life and so
Representation of
Ragas through
Nayak-Nayika
Fall of Mandu 1570
Artist fled to Mewar
11. Features of Mewar
school
Main topic
“Krishna Bhakti Cult”
Other topics:
Village scene, court scene, marriage
procession, song and dance
Battle scene
Bright and
brilliant colours
Long nose
Oval face
Elongated fish like
eye
Male garment:
Loose fitting, turban
Female garment:
Long skirt, choli,
transparent odhnis.
Male figures
are
larger than female
Ornamental trees
Flowers in bunches
Hills and
mountains
persian style
Water waves in
basket pattern
No perspective
Sapce division
by colour
12. MARU-RAGINI
WATER COLOR AND TEMPERA ON HAND MADE PAPER
Painted by
Sahibdin
King and queen
riding camel
Yellow desert
background
King & queen
wearing ornamental
dress
Decorative
camel dress
Foreground green
wash
Three male
escortsHunting dog
Deep blue sky
suggesting night
Dresses are
transparent
13. Bundi
Ruled by Hara Dynasty
Till 1625 A.D Bundi & Kotah
were unified.
Latter divided by Mughal s
Paintings Similar to
Mewar school
Scattered Ragamala
series 1625-40 A.D
e.g. Bhairav Ragini
Illustration of Bhagavat
Puran 1640 A.D
By the end of 17th
century Bundi style
went further change.
Beautiful
representation of
elephant
e.g. Summer
Elephant.
Favourite topics:
Ragamala, Baramasa,
Rashikpriya.
Depicting Krishna was
another favourite
topics
e.g. Hours of cow dust
14. Features of
Bundi School
Human figures similar to
mewar
Expression differs Small round face
Shade near cheeks
Eyes and nose add
charm and emotion to
face
Landscape depiction
Thick jungleRiver and lotus pond and
lake with water bird
Peculiarity of Bundi Painting:
Minar on one corner
Favourite topics:
Ragamala, Baramasa,
Rashikpriya.
15. SUMMER ELEPHANT
WATER COLOUR AND TEMPERA ON HANDMADE PAPER
Beautiful representation of
elephant
Warm colours (red, yellow) Fluid lines Representation of two
elephants one in red and one
in yellow
The elephants possesses
4 wings
They are showering water
over Laxmi
Laxmi is shown sitting
over a lotus
Laxmi possesses four
hands
Laxmi is in Ghagra Choli
or traditional rajasthani
dress
She is weraing a golden
crown with flowers
She also holds lotus in her
right upper arm
She is washing her hair
with right lower arm
and left upper arm
Representation of halo
behind her head
Representation of lotus
pond in the front
Two winged elephants are
taking bath in the pond
Stylized representation of
the entire composition
Ornamentive decoration is
shown in the elephants
16. HOUR OF COW DUST
WATER COLOUR AND TEMPERA ON HAND MADE PAPER
Krishna is driving cattle back to home
Gopis are waiting for him in the balcony
The painting is so vivid that one can
almost hear the twinkling of the bells and
stamping of the feet
Krishna is shown sporting white garland
flower and she is playing flute
Lot of activities is shown in the
composition
Represesntation of various expressions
and gestures
Realistic representation of the figures and
animals
Contemporary rajput architecture
Space division is done through
architecture
Representation of the vegetation in the
distanct horizon
17. jodhpur
Largest state of Rajasthan
Founded in 1459 A.D.
Established by the Rathores 15th & 16th century jaina
style of painting followed
End of 16th century Mughal
style infiltrates
Akbar marriage with
Jodhabai
During the time of Bijay
Singh true Jodhpur style
evolve.
Though Mughal influence
remains
Raja Man Singh’s time
golden period in jodhpur
painting style
Topics:
“Krishna-lila”, “Shivpuran”,
“Nalacharita”, “Durgacharita”,
“panchatantra”
121 paintings on “Dhola-
Marvani” ballad
1820 A.D
Jodhpur paintings are little
larger than the other
painting
Painings of nature are
symbolic and poetic
18. Features of
Jodhpur School
Female figures are tall
Hair tied up in high
knot
High forehead Heads are smaller
comparison to the
body
Eyes are stretched
till ears
Sharp nose
Slim waist
Breasts and
buttocks are
heavy
Long legs
Spectacular moustache and
side burnPainting size are little
bigger
Female figures are
smaller than male
figures
Large, white pavilions
Twisted cloud
in the sky
Back-ground:
Dense tree groves
19. CHAUGAN PLAYER
WATER COLOUR AND TEMPERA ON HAND MADE PAPER
A group playing polo
All having polo stick in hand
Two princesses charging at each
other
Their lady companion on
horse back
Upper body twisted
to face the ball
Rajput costume
Little cluster of flower
and foliage in stylised
mannerSkirts spreads in bell like
fasion
Hair tied in top knot
Opposite direction
movement lent speed &
movement
20. Bikaner
Developed by 17th century
Under Raja Raj Singh
Manuscript of Meeghdoot
Appabhransha style
Later Mughal sovereignty
Artists fom
Aurangzebs court
fled here
Ustad Hamid
Ruknuddin master
artist
Ruknuddin’s son
Sahibdin another artist
Sahibdin’s famous painting
“Krishna Supporting Mount
Govarhan”
By late 18th Century Bikaner
adopt late Jodhpur style
Both miniature and wall
painting found in
Bikaner
Wall paintings in the
gate of ‘Chandra Mahal’
and ‘Sujan mahal’ and in
decoration of ‘Anoop
Mahal’ and ‘Phool
Mahal’
21. Features of
Bikaner School
Main topic:
Ramayana,
Mahabharata, Krishna
legend, Ragmala, love
scenes of Radha and
Krishna
Tight lips
Half open eyes
Small chin
Thin wrist
Under-developed chest
compared to other
miniature
Moustache downward
bent
Decorated Ghagra with
Diagonal stripes
Circular style cloud
Beautiful depiction of
hunting scene
22. KRISHNA ON SWING
WATER COLOUR AND TEMPERA ON
HANDMADE PARER
Two panels two
different scene
First panel:
krishna on swing
on left side of the
composition
Tiara on head
White flower
garland on neck
Dupatta hanging from
shoulder
Orange colour dhoti
Blue body colour
highlighted
Hexagonal swing
with ornamental
border
Radha sitting on
balcony in front
Wearing traditionla &
decorated Ghagra-
Choli
Head covered with
Odhni
She is sitting on
red carpet
Pillow
supporting both
their back
Radha and Krishna
sitting in two different
place under tree
Attendant of radha
bringing message to
Krishna
White flower
garland and
dupatta on neck
yellow colour dhoti
Both Radha Krishna
sitting on red carpet
supported by pillow
Radha wearing yellow
Ghagra Choli
Attendant wearing Stripped
Ghagra Choli in purpe colour
Trees and mount in the
back ground
Detailed leaves in
cluster & repetitive
pattern
Tonal variation
All the figures are in
profile
Sophisticated and
modern architecture
Bright colours
Elegant lines
23. Kishangarh
Established by Kishan Singh
1609 A.D
Small state surrounded by Jodhpur,
Jaipur, Shahpur & Ajmer
Reached to Zenith during
the time of Raja Sawant
Singh because of superb
painting
He was a scholar,
critic poet and well
versed in Hindi
Though devotee of Krishna
he loved ‘Bani-Thani’ a
maid in stepmother’s
household
He worshipped her as
Radha and she also
remains with him
through-out life
Nihalchand was the
chief artist
Nihalchand created Bani-
Thani as Radha and Raja
Sawant Singh
Topics of painting:
Hunting scene, court scene,
potraits of king, Nawabs,
Saints
Romantic life of Radha
Krishna, stories of Bhagavat
Puran, scenes from Bihari
Chandrika, nayak-nayika
Bheda
Nayak mostly
Krishna and
Nayika Radhika
24. Features of
Kishangarh
School
Topics of painting:
Hunting scene, court scene,
potraits of king, Nawabs,
Saints
Romantic life of Radha
Krishna fron Geet-Govinda,
stories of Bhagavat Puran,
scenes from Bihari Chandrika,
nayak-nayika Bheda
Female figures slim,
flexible and tall
Long face
High, sloping fore-head
Long pointed nose
Bulging and well-cut
lips
Long chins
Long drawn eye like khanjan
pakshi (wagtail)
Bow like eyebrows
Long neckLong fingers
Hair lock near ear
Usage of primary colours
Sky horizon replaced by creepers
and foliage
Emotional
aspects
depicted
Gold and silver colour usage
25. RADHA (BANI-THANI)
WATER COLOUR AND TEMPERA ON PAPER
The most well known painting of
Kishangarh
Artist Nihalchand
Elongated face
Receding forehead
Sharp pointed nose
Long chin
slightly pink tinted
Wagtail eye
(khanjan pakshi)
Reflecting typical
feminine beauty
Arch like eyebrow
Thin red lips
Long black hair flows don from
shoulder to waist
Hair lock on cheek
Long tapering fingers
Left hand holding two
lotus bud
Right hand delicately
holding odhni
Palm slightly tinged
with red
Golden motif on odhni
Dress and costume reflects
contemporary Rajput
Royalty
Odhni transparent to reflect
her marble white skin
Dark blue
background
Enigmatic smile
Compared to Monalisa
Postal stamp issued by Govt.
of India
Best paiting of Rajasthan
26. Jaipur
Founded by Sawai Jai Singh
1693-1743
He built Amber Palace
Greatly influenced early
Mughal architecture at
Fatehpur Sikri and Agra
Painting the Mughal style
influenced the Jaipur
School
Jaipur painting school reached
its peak during the time of
Maharana Pratap upto 1780
During Rana Pratap’s time
Mughal influence thrown off
and genuine Jaipur style
emerged
Raga Ragini, Krishna themes, Ramayana,
Mahabharata, potraits, Musical concerts, court scene
were main topics
Over 50 artists work under
himAfter Rana Pratap, Rana Ram singh
again bring back the Mughal style
The impact of Jaipur school can
be seen in the surrounding states
Ahibram, Lal Chitara are two
artists
27. Features of
Jaipur School
The graceful use of colours and lines
Expression of emotion Different postures
Women face are round
Medium size figures
Eyes large, elongated,
upward curve in women
Male figure robust body
Round nose in male
Hair reaching up to ears
Men wear:
Loose pyjama, turban with diamond
Women wear Ghagra of
dark colour
Paintings have ornamented
borders
Proper usage of light and
shade
Initially influenced from
Mughal Miniature
Later Rajasthani style
predominate
28. BHARAT MEETS RAMA AT CHITRAKUT
WATER COLOUR AND TEMPERA ON HANDMAD PAPER
ARTIST - GUMAN
Scene from Ramayan
Total 49 figures
Depiction of the drama of taking back
Rama to Ayodha
1. Rama listen to
Vishwamitra about his
father’s death and felt
unconscious
2. Rama ask for
forgiveness to the
sage for weakness
shown
3. In the middle rama
meets his mother
accompanied by
laxman and sita
4. Rama embraces
Kaushalya but
refuses to go home
5. Rama touches the
feet of Kaikeyee begging
her forgiveness
6. Sita on the right hand
corner declares her will to
follow her path to follow her
husbands path
7. Right hand corner Rama,
Sita, Laxman bidding good
bye to Bharat Satrughna,
Viswamitra and their
mother
Rama’s cottage in the right
hand corner
Bunch of Banana groves
behind the cottage
Profusion of green
in the painting back-
ground
Representation of
Sarayu river in the front
with lotus
Green, Blue Yellow &
white profusely used
29. Method and
Material of Painting
Papers were used from 14th
Century
Paper dipped in solvent of alum
and Ivory was used to polish the
paper
Thin layers of paper
glued to make it hard like
pasteboard
Paint brush were from
ears of calf, goat,
donkey or squirrel tail
The fur put at the base of
the feather and sealed with
wax to form the brush
Primary sketch was done
with light colour
Next the lines were
given prominence by
filling up the body of
the paininting with
white paint
The outline was given
with brown or blackThe paint was applied flat with-
out any shadeFinishing touch applied on the
outline
Mounting was done by
‘Wasilgarh’
The writing above and behind was
done by ‘Khasnabis’
Ink was made by Juice of
‘Amla’ & ‘Haritaki’
Colours were appliedin
small strokes
Lastly polish was given with
‘Aqiq’ or polished stone slab
A layer of lac Varnish was applied
on the backside to maike the
painting hard and last long