Rajasthani Painting Art

Rajasthani Painting Art is an excellent example of the traditional art styles of Rajasthan, known for its bright colors, fine detailing, and emotional expression. It holds an important place in the subject of Rajasthan art and culture, as it artistically represents the state’s historical traditions, royal courts, and folk life. Due to its unique style and cultural depth, Rajasthani painting is famous worldwide.

Different Styles of Rajasthani Painting Art

Earliest Evidences of Rajasthani Painting –

• Numerous paintings have been found from Jaipur and Bairat civilization; hence it is called the ‘Painting of the Ancient Era’.
• Paintings dating back to 5000 BC have been discovered from Alaniya village (Kota) on the banks of the Chambal River.
• Dr. Vishnu Shridhar Wakankar discovered paintings of figures from Dar (Bharatpur).
• Evidences of decorated bricks have been found from Kalibangan (Hanumangarh).
• The oldest available illustrated texts of Rajasthan – ‘Aodh Niryukti Vritti’ and ‘Das Vaikalika Sutra Churni’ (1060 AD).

Important Facts –

• Mewar – The oldest center of Rajasthani painting (inspired by Ajanta painting).
• Ananda Kumar swamy – Performed the first scientific classification in his book “Rajput Painting” (1916) [placed the Pahari painting style within Rajasthan painting].
  • Rajput Art: Mr. Brown, Smith, G.A. Grierson, G. Thomas.
  • Rajput Style: Ananda Kumar Coomaraswamy, O.C. Ganguly, and Havell.
  • Hindu Style: H.C. Mehta, Narsirao.
  • Rajasthani Style: Ramkrishna Das, Colonel James Tod, G.S. Ojha.
• Golden Period – 17th century and the early 18th century.
• Karl Jamshed Khandalavala considered the 17th century as the Golden Age of Rajasthani painting.
• William Lawrence – Rajasthani painting style is the pure form of Indian painting style.
• Kundanlal Mistry – Credited with the beginning of modern painting in Rajasthan.
• Lama Taranath – Tibetan historian, mentioned the painter Shringdhar of Maru Pradesh.

Different Types of Surfaces in Painting

Methods of Fresco Painting

There are primarily three types of frescoes:

Buon Fresco

• Colors are applied to a wet lime-plastered wall.
• The colors set permanently as the wall dries.
• The most durable and traditional method.
• Local Names: Arayash, Algila, Morakasi, or Pana.
• In Shekhawati Havelis: External walls – Buon Fresco (Arayash/Wet method) → Weather-resistant.

Fresco Secco (Dry Fresco)

• Paintings are created on a completely dry wall.
• A binder like gum or egg yolk is used to adhere the pigments.
• Less durable than Buon Fresco; often used for touch-ups and fine detailing.
• Internal Walls and Ceilings: Secco Fresco → Used for detailed work.

Mezzo Fresco (Medium Fresco)

• Painting on a slightly damp or nearly dry wall.
• Stronger than Secco and easier than Buon.
• Useful for large paintings.

Major Painting Museums and Institutions –

Name of Museum	Place
Jinbhadra Suri Bhandar	Sonar fort(Jaisalmer)
Pothikhana	Jaipur
Saraswati Bhandar	Udaipur
Maan Prakash Pustakalaya	Mehrangarh Fort (Jodhpur)

Name of Institute	Place
Western Cultural Centre	Udaipur
Progressive Artist group	Udaipur
Takhman-28	Udaipur
Paig	Jaipur
Kalavrit	Jaipur
Aayam	Jaipur
Creative Artist group	Jaipur
Jawahar Kala Kendra	Jaipur
Rajasthan Lalit Kala Akademi	Jaipur
Mayur	Vanasthali (Tonk)
Dhora	Jodhpur
Chitera	Jodhpur

Classification of Rajasthani Painting

• Based on geographical and cultural grounds, Rajasthani painting can be divided into four schools:

1. Mewar School:
   • Chawand style, Udaipur style, Nathdwara style
   • Devgarh sub-style, Sawar sub-style, Shahpura sub-style, and 
   • The paintings of fiefdoms (Thikanas) like Banera, Bagore, Begun, and Kelwa.
2. Marwar School:
   • Jodhpur style, Bikaner style, Kishangarh style, Ajmer style, Nagaur style, Sirohi style, Jaisalmer style, and 
   • The paintings of fiefdoms (Thikanas) like Ghanerao, Riyan, Bhinai, and Junia.
3. Dhundhar School:
   • Amer style, Jaipur style, Shekhawati style, Alwar style, Uniara sub-style, and
   • The paintings of fiefdoms (Thikanas) like Jhilai, Isarda, Shahpura, and Samode.
4. Hadoti School:
   • Bundi style, Kota style, and Jhalawar sub-style.

Mewar School

Mewar/Udaipur School of Painting-

• Mewar is considered the oldest and most prominent center of Rajasthani painting.
• The maximum depiction of manuscripts (Pothi texts) occurred in this painting style.
• Development: During the time of Maharana Kumbha (Father of painting in Rajasthan).
• Golden Era: Maharana Jagat Singh I.
• This style was influenced by the Ajanta style.
• 3D (Three-dimensional) effects are found in hunting scenes.

Maharana Jagat Singh I (1628–1652 AD)

• He established a school of painting named ‘Chitero Ki Ovri’ / ‘Tasveeran Ro Karkhano’ in the royal palace.
• During his reign, the painting received royal patronage.
• Key Painters: Manohar and Shahabuddin.
• Sahabuddin: Created portraits of Kings and Maharanas.
• Heavy objects: Painted with deep, high-intensity colors.
• Light objects: Painted with light, low-intensity colors.
• During the time of Maharana Jagat Singh I, the life of Rama (Ram Charitra) was depicted alongside the life of Krishna.
• The depiction of the Ramayana was carried out between 1649–1653 AD by Sahabuddin and Manohar.
• During the reign of Maharana Udai Singh (1535–1572 AD), the famous Bhagavata Purana painting ‘Parijat Avtaran’ (1540 AD) was created by the Mewar painter Nanaram.
• The maximum production of miniature paintings occurred during the reign of Maharana Jai Singh.
• The tradition of making paintings on ‘Large Pages’ (Bade Panne) began during the reign of Maharana Hammir Singh.
• During the time of Maharana Sangram Singh II, the prominent painter was Nuruddin, who created numerous paintings based on the ‘Panchatantra’ written by Vishnu Sharma.
• Kalila-Damna are two central characters of the Panchatantra stories depicted in the Mewar school of painting; it is a story of two jackals.
• Prominent Painters of Mewar School: Bhakta, Sahabuddin, Manohar, Shah Umra, Kamal Chand, Hiranand, Jeeva Ram, Bhairu Ram, Nasiruddin, Kriparam, Nuruddin, Jagannath.

• Attire or Ornaments: Karnphool (earrings), Bajuband (armlet), Payal (anklet), Bor (head ornament), Kangan (bangles).
• Trees, Animals, Birds: Kadamba (tree), Chakor (partridge), Hans (swan), Mor (peacock).
• Colors: Bright, vibrant colors were used in this style.

Nathdwara School of Painting

• A blend of Udaipur and Braj styles.
• The main seat of the Pushtimarg sect → Nathdwara (Installation of the idol of Shrinathji in 1672 AD).
• Beginning: The era of Maharana Raj Singh (1652–80 AD).
• Influence of the Vallabh sect → known as the Vallabh school of painting.
• Main Subjects: Krishna-Yashoda paintings, Krishna’s childhood playful activities (Baal Leela), and cows.
• Prominent Themes: Mural paintings (Bhitti Chitra), Pichhwai paintings, Shrinathji, and depiction of cows.
• Prominent Male Painters:
  • Baba Ramchandra, Narayan, Ramling, Chaturbhuj, Champalal, Ghasiram, Tulsiram, Udayram, Hardev, Heeralal, Vitthal.
• Female Painters (a unique feature): Kamala, Elaichi.
• Characteristics of Female Depiction:
  • Maturity (Praudhata), short stature
  • Slanted/partridge-shaped (Chakor) eyes, pearl in the nose ring (Nath)
  • Stout body, maternal affection (Vatsalya Bhav)
  • Mangalsutra (traditional necklace)
• Colors: Green, yellow
• Tree: Banana (Kadali)

Devgarh Sub-style of Painting

• A blend of Marwar, Jaipur, and Mewar styles.
• Beginning: During the time of Rawal Dwarkadas Chundawat of Devgarh.
• Credit for bringing to light: Dr. Sridhar Andhare.
• Golden Era: The period of Dwarkadas Chundawat.
• Feudal lords of Devgarh — known as ‘Solahvein Umrao’.
• Maximum Development: During the reign of Maharana Jai Singh.
• The frescoes of this painting style are depicted in ‘Ajara Ki Ovri’ and ‘Moti Mahal’.
• Prominent Painters: Bagta, Chokha, Kawala I, Kawala II, Harchand, Naga, Baijnath.

Chawand School of Painting

• Beginning: 1585 AD, during the reign of Maharana Pratap.
• Golden Era: Maharana Amar Singh I (1597–1620 AD).
• 1592 AD: Dhola–Maru painting by Nisardin (preserved in Delhi Museum).
• 1605 AD: Illustration of the Ragamala text by Nisardin.
• Major works during Maharana Sangram Singh II (1710–34 AD): Gita Govinda, Sundar Shringar, Mulla Do Pyaza Ke Latife, Bihari Satsai, Kalila–Damna (by Nuruddin), and Barahmasa.
• Key Painters: Nasiruddin, Sahibdin, Manohar, Kriparam, Gangaram, Jagannath, Nuruddin.

Marwar School

Marwar / Jodhpur School of Painting

• Tibetan historian Lama Taranath mentioned the painter Shringdhar in Maru Pradesh in the 7th century, who gave birth to the Yaksha style in Western India. Its early pictorial remains are found in the Pratihara-era Aodh Niryukti Vritti.
• Main Subject: Love legends (Premakhyan).
• Origin: The reign of Rao Maldeo.
• Two paintings by Rao Maldev in Chokhelav Mahal (Mehrangarh):
  • Rama–Ravana War
  • Sapta Sati (Early paintings of the Marwar style)
• H.K. Muller painted the portrait of Durgadas Rathore.
• Painter during Maharaja Abhay Singh’s reign: Dalchand.
• Depiction of Dhola–Maru and Bhagavata Purana during the time of Sur Singh.
• Virji Bhati illustrated the Ragamala for the brave warrior Vithaldas Champawat.
• Maharaja Udai Singh I: Influence of the Mughal style.
• Maharaja Takhat Singh: Influence of the Company style.
• Golden Era: Jaswant Singh I and Maharaja Man Singh.
• Depiction of Krishna Leelas; Mughal influence from 1803–1843.
• Maharaja Ajit Singh: Most beautiful and lifelike paintings.
• During Maharaja Man Singh’s reign:
  • Development of the Jodhpur style in Nath monasteries (Mathas).
  • Manuscript illustrations in Mahamandir and Udaymandir.
  • 1623 AD: Ragamala by Virjidas Bhati.
  • Depiction of Shiva Purana, Durga Purana, Nath Charitra, etc.
• Prominent Painters:
  • Virji, Dana Bhati, Ratanji Bhati, Madhodas, Shankardas, Amardas, Bishandas, Shivdas, Devdas, Fateh Mohammad, Chand Tayyab, Ramsingh Bhati, Jeetmal, Rama, Natha, Chhajju, Saifu.
• Major Manuscripts / Subjects:
  • Dhola–Maru, Sursagar, Rasikpriya, Ragamala (Virji).
• Characteristics of Marwar / Jodhpur School:
  • Depiction of deserts, horses, bushes, etc.
  • Depiction of love legends → Dhola-Maru, Mahendra-Mumal.
  • Dynamism in paintings and dramatic poses.
  • High turbans (Unchi Paag) are a unique contribution of the Jodhpur style.
  • Colors: Predominance of red and yellow.
  • Eyes: Shaped like almonds.
  • Tree: Depiction of the Mango tree.
• Men: Tall and broad, well-built bodies, high turbans, royal attire and ornaments.
• Women: Typical Rajasthani veil (Odhani), red tassels (Phundna), Ghagra/Lehenga, short stature.

Bikaner School of Painting

• Coordination: A synthesis of Mughal and Deccan styles.
• During Maharaja Rai Singh’s reign:
  • Bhagavata Purana was the first illustrated manuscript of the Bikaner style.
  • Nur Mohammad was the court painter.
  • He brought Usta Ali Raza and Hamid Ruknuddin from the Mughal court, leading to the origin of the Usta style.
• Maximum depiction of religious paintings.
• Influence of the Deccan style in scenes of fountains and courtly life.
• In the 18th century, paintings acquired a pure Rajasthani hue.
• Maharaja Anup Singh’s reign:
  • Maximum production of paintings → The Golden Era of the Bikaner style.
  • Development of the pure Bikaner painting style.
  • Influence of the Dravidian style.
  • Development of Usta art and Matherna art.
• Maharaja Surat Singh: Influence of the Company style.

Characteristics of the Bikaner School of Painting

• Picturesque depiction of crane couples (Saras-Mithun) amidst raining clouds.
• A blended influence of Bikaneri lifestyle, Rajput culture, and the Mughal school.
• Unique Tradition: Painters would mark their name and the date (तिथि) beneath the painting after completing it.
• Influence of the Mughal style right from the beginning.
• Women: Single, slim-bodied (Tanvangi), and delicate female figures.
• Men: High Marwari turbans (Shah Jahan-Aurangzeb style).
• Colors: Yellow (predominant), blue, green, red, grey, purple, and mauve/jamuni.
• Animals: Maximum depiction of camels, deer, and horses.

Kishangarh School of Painting

• Also known as the Paper Style (Kagazi Shaili).
• Strong influence of the Vallabh Sect.
• Golden Era: Maharaja Sawant Singh / Nagridas (1748–1764 AD).
• Credit for bringing to light: Dr. Fayyaz Ali and Eric Dickinson.
• Style dominated by Love-sentiment (Prem-ras); predominance of pink color.
• Characteristics :
  • Extensive depiction of Krishna-Leelas.
  • Influence of Kangra Style and Braj Literature.
  • Prominent depiction of feminine beauty.
    • Vesari (Vesar) nose ornament is depicted in female paintings.
    • Eyes: Almond-shaped.
  • Tree: Mainly Banana.
  • Colors: White, Pink, Grey, Vermilion.
  • Human Figures:
    • Men: Tall, single-framed body with a bluish hue, high forehead, and white or moongiya (greenish) pearl-studded turban.
    • Women: Slender-bodied (Tanvangi), tall, swan-like (surahi) neck, slim waist, eyes extending to the ears (Khanjan like), and pointed chin.
  • Natural Environment:
    • Vermilion clouds, Radha-Krishna’s pastimes in starry moonlit nights, banana trees, and depiction of lakes.
  • Prominent Painters:
    • Mordhwaj Nihalchand, Nanakram, Sitaram, Surdhwaj, Lalridas, Sawairam, Ramnath, Tulsidas,Amarchand, Bhanwarlal, Amaru, Surajmal, Badansingh.
  • Bani-Thani:
    • The most famous painting of the Kishangarh style.
    • Painter: Mordhwaj Nihalchand (compared to Leonardo da Vinci).
    • A 20 paise postage stamp was issued on May 5, 1973.
    • Called ‘India’s Monalisa’ by Eric Dickinson.
    • Current status: Preserved in the Ajmer Museum.
  • Other notable work: Chandni Raat Ki Goshti (A meeting on a moonlit night) by Amarchand.

Ajmer School of Painting

• Color: Predominance of purple.
• The frescoes of Masuda, Kekri, and Bhinai fiefdoms (Thikanas) belong to this style.
• Painters: Chand (Junia), Ramsingh Bhati (Nand), Tayyab (Sawar), Jalji, Narayan Bhati (Kharwa), Madhoji, Ram (Masuda), Allahbaksh (Ajmer), and Tayyab (Sawar), etc.
• The names of female painters named Usna and Sahiba (Ajmer) are also found.
• The 1698 AD portrait of Raja Pabuji, painted by Chand of Junia, is a beautiful example of this painting style.
• This style gave equal patronage to Hindu, Muslim, and Christian religions.

Jaisalmer School of Painting

• The patrons of this style were Maharawal Harraj, Akhe Singh, and Moolraj Bhati II (Golden Era).
• This style is also known as the Maand Style.
• A completely local style (no influence from any other school of painting).
• Depictions: Desert landscapes, bushes, and camels.
• Frescoes are painted on havelis such as Nathmal Ki Haveli, Patwon Ki Haveli, and Salim Singh Mehta Ki Haveli.
• Features: Transparent attire; the depiction of Moomal is the primary subject.
• Note: The depiction of Dhola-Maru was the main subject of the Jodhpur style.

Nagaur School of Painting –

• Frescoes were created on the artistic Badal Mahal.
• Depiction of old age and the use of faded/dull colors.
• Transparent attire is a distinctive feature of this style.
• The influence of the Marwar style is visible in the paintings on wooden doors and the fort’s murals.

Ghanerao Sub-style of Painting

• Ghanerao is a prominent fiefdom (Thikana) of the Godwar region, located to the south of Jodhpur.
• Painters: Narayan, Chhajju, and Kriparam.

 Dhundhar School

Amer School of Painting –

• Painters: Pushpadatt, Hukmchand, Murali
• Founders: Man Singh + Mirza Raja Jai Singh
• Golden Era: The reign of Mirza Raja Jai Singh I
• Painter Pushpadatt illustrated the text titled ‘Adi Purana’ (1606).
• Illustrated Texts –
  • Yashodhara Charitra: (Illustrated manuscript of the early period of this style)
  • Copy of Razmnama: (Created for Akbar in the Jaipur Suratkana in 1588; contains 169 large-scale paintings)
  • Bihari Satsai: (Painter Murali)
  • Rasikpriya + Krishna-Rukmani Veli (1639 AD): (Commissioned by Mirza Raja Jai Singh I for his queen Chandrawati)
• Features –
  • Influence of the Mughal style right from the beginning — seen in the Mughal Garden of Bairat and the frescoes of Mauzamabad.
  • Use of natural colors; introduction of the Alagila (Arayash) technique.

Jaipur School of Painting –

• Sawai Jai Singh I: The style originated during his time.
  • He established ‘Chhattis Karkhane’ (36 workshops), of which Suratkhana (for painting) was one.
  • Mohammad Shah (court painter of Sawai Jai Singh II) illustrated the ‘Razmnama’ and presented it to Sawai Jai Singh II (he also created paintings of Krishna Leela).
  • Ragamala (1785-90): A complete set of 34 available paintings (based on 36 Rag-Ragini).
• Sawai Ishwari Singh:
  • The Suratkhana was shifted from Amer to Jaipur.
  • Sahibram: Painted a life-size portrait (Adamkad) of Ishwari Singh (the first in Rajasthan); also painted Radha-Krishna’s dance.
  • Lalchand: Famous for paintings of animal fights.
• Sawai Madho Singh:
  • Manikuttim Technique: Painters began using pearls, lac, and other suitable materials with binders instead of just colors.
  • Frescoes (Mural Paintings): Large numbers found on the walls of Galtaji Temple, Sisodia Rani Ka Bagh (Palace), Chandra Mahal, and Pundrik Ki Haveli.
  • Prominent Painter: Lal Chitera.
• Sawai Pratap Singh:
  • His reign was the Golden Era of the Jaipur School of Painting.
  • Depiction of Radha-Krishna Leela, Nayika Bhed, Rag-Ragini, and Barahmasa.
  • Gandharva Baisi: A circle of 22 painters, 22 poets, 22 musicians, and 22 scholars existed during his time.
  • Pratap Singh established the ‘Suratkhana’ painting department in Hawa Mahal (where more than 50 artists began working).
  • Prominent Painters: Ramsevak, Gopal, Chimna, Hukma, Shaligram, Lalchand, Lal Chitera.
• Sawai Ram Singh II:
  • Influence of the Company Style.
  • Established the school of art ‘Madarsa-e-Hunari’ (now Rajasthan School of Art and Craft).
  • Kachwaha-Mughal Relation Result: Use of Fresco in murals (locally known as Ala-Gila, Arayash, or Morakasi).
• Nature:
  • Depiction of cotton-like white clouds and flashes of lightning at night.
  • Trees: Mango, Banana, Peepal, and Kadamba.
• Characteristics of Jaipur School of Painting:
  • Colors: Deep red in the borders (Hashiya).
  • Gold and Silver were also used.
  • Paintings: Vatsyayana’s Kamasutra, a woman giving alms to fakirs, a princess reading the Quran, elephant and horse wrestling, and Laila-Majnu.
  • Due to Mughal influence and realistic, accurate portraits, it is also called the ‘Shabih’ style (‘likeness’ or ‘similarity’).
  • From the beginning, this style had the maximum influence of the Mughal style.

Alwar School of Painting

• Rao Raja Pratap Singh:
  • Beginning of the Alwar style (1775 AD).
  • Painters: Brought Shiv Kumar and Daluram from Jaipur to Alwar.
• Rao Bakhtawar Singh:
  • Development of the ‘Alwar Style’ → Painting of ‘Sheesh Mahal’ in the palaces of Rajgarh.
  • Major Painters: Baldev, Daluram, Salga, Shaligram.
• Balwant Singh:
  • Depiction of miniature paintings and scroll paintings (Patachitra).
  • Depiction of Durga Saptashati.
  • Major Painters: Chotelal (expert in pardaz/stippling), Jamnalal, Shaligram, Baksaram, Nandram.
• Maharaja Vinay Singh:
  • The Golden Era of the Alwar School of Painting.
  • Painters: Daluram, Nanakram, Nandram, Moolchand Soni, Chhotelal, Jamnalal, Shaligram, Baksaram, Baldev.
  • Vinay Singh learned painting from Baldev, who illustrated an edition of the book ‘Gulistan’ (a book by Sufi saint Sheikh Saadi).
  • Nandram and Jamnadas were painters of the Tijara sub-style.
• Maharaja Shivdan Singh:
  • Paintings based on ‘Kamasutra’; ‘Portraits of Prostitutes’ were painted in maximum numbers.
• Maharaja Mangal Singh:
  • Painters: Moolchand, Udayram.
  • Painting on Ivory (Elephant tusk).
• Major Painters: Jamnadas, Jagmohan, Shaligram, Chotelal, Baksaram, Baldev, Ghulam Ali, Ram Sahay, Ram Gopal, Ram Prasad, Nandlal, Nepalia.
• Key Characteristics:
  • A coordination of Iranian + Mughal + Jaipur painting styles.
  • Men: Mango-shaped faces.
  • Women: Short stature, raised braids (Veni).
  • Creation of beautiful Vaslis with vine and flower motifs; depiction of Yoga poses (Yogasan) and miniature paintings; importance given to the ‘Border’ in paintings.
  • The style that gives importance to the border is called the ‘Baislo Style’.

Uniara Sub-style of Painting

• This style was developed by the Naruka fiefdom (Thikana) under Rao Raja Sardar Singh.
• Uniara was a fiefdom of the Jaipur state, currently located in the Tonk district.
• A blend of Jaipur style + Bundi style.
• Painters: Kashiram, Ram-Lakhan, Mir Baksh, Dhima, Ugma, Bhim, Kawala, Bhakta.
• Famous Paintings:
  • Barahmasa and Rag-Ragini (based on poet Keshav’s Kavipriya).
  • Ram-Sita, Laxman, and Hanuman – painted by Mir Baksh.

Shekhawati School of Painting –

• This art was developed by local Sahukars (moneylenders), Seths, and Jagirdars through commissions for mural paintings on their havelis.
• Famous for mural paintings (influenced by the Jaipur style); hence, it is also called the ‘Open Art Gallery’.
• Nawalgarh, Laxmangarh, Mukundgarh, Ramgarh, Pilani, Bissau, and Mandawa are renowned for their frescoes.
• Characteristics –
  • Inclusion of dates and names beneath the murals, depictions of the changing environment of the 19th-century transition period, means of transport, everyday life, and massive elephants and horses.
  • Special depiction of Rag-Ragini, erotic art (Kamkala), milking of cows, wrestling (Malla Yuddha), saints, and folk tales (specifically located between the brackets/struts under the balconies).
  • ‘A single lock of curling hair depicted on one side’ is a feature of this style.
  • Primary Colors:Catechu (Brownish-red), blue, and pink.

 Hadoti School

Bundi School of Painting

• Beginning: Started during the time of Rao Surjan.
• Development: Developed under Rao Shatrushal (Chhatrasal).
• Rang Mahal: World-famous for its beautiful frescoes.
• Golden Era: The reign of Rao Umed Singh.
• Ranshaala / Chitrashala Palace: Built by Umed Singh; known as the ‘Paradise of Murals’; contains the maximum number of Bundi style paintings.
• Famous Painting: Rao Umed Singh hunting a wild boar (1750 AD).
• Major Painters: Surjan, Shrikishan, Nur Mohammad, Ramlal, Sadhu Ram, Ahmed Ali, Ratan Singh, Lachhiram.
• Major Themes:
  • Depiction of animals and birds: Called the ‘Bird Style’ (trumpeting elephants, snakes, cranes, pigeons, running lions, dancing peacocks, and elephant fights).
  • Natural Scenery: Swelling black clouds, heavy rain, flashes of lightning, lush green trees, dancing peacocks, depictions of swings (hindolas), red clouds, and rainbows in golden colors.
  • Cultural Depiction: Rag-Ragini, Nayika Bhed, season descriptions, Barahmasa, Krishna Leela, courts, hunting, festival markings, and a complete portrayal of Rajasthani culture.
• Characteristics:
  • Predominance of green and orange colors; predominance of gold and silver colors.
  • The peacock is depicted in all schools of the state, but the dancing peacock is depicted only in the Bundi style.
  • Finest rendering of lines.
  • Tree: Date palm (Khajoor).
  • Men: Tall, full face, large moustaches, round forehead.
  • Women: Tall, energetic with a slender body, thin lips.
  • Eyes: Shaped like a pointed gourd (Parwal).
• Karl Khandalavala studied the Bundi style and wrote the book ‘Bundi Granthavali’.

Kota School of Painting (Hunting Style / Shikhar Shaili)

• Synthesis: A blend of Bundi and Mughal styles.
• Beginning: Started during the reign of Maharao Ram Singh I (1661-1705 AD).
• Credit for bringing to light: Colonel T.G.G. Anderson (1952).
• Maharao Umed Singh I:
  • His reign is considered the Golden Era of this style.
• Hunting/Shikhar scenes are the primary subject.
• During the time of Maharao Bhim Singh:
  • Influence of the Vallabh Sect — depiction of Krishna-Leelas.
• Prominent Painters:
  • Dalu, Lachhiram, Ramjiram, Govindram, Nur Mohammad, and Raghunath.
  • The painter Dalu illustrated the ‘Ragamala’ (1768), in which most paintings are based on hunting.
  • Includes the divine acts of Lord Krishna and royal portraits (Shabih).
• The maximum number of Kota-style frescoes are found in ‘Jhalaon Ki Haveli’.
• Characteristics:
  • The maximum number of paintings are based on hunting; notably, queens are also depicted hunting along with the kings.
  • Extensive depiction of feminine beauty.
  • Colors: Light green, yellow, and blue.
  • Women: Small nose, slim waist, large eyes, broad forehead, high Lehengas, and stiff braids (Veni).
  • Men: Muscular bodies, full beards and moustaches; attire equipped with swords and daggers; broad shoulders make their appearance attractive.

Jhalawar Sub-style

• The determination of the Jhalawar style is yet to be finalised through the frescoes found in the royal palaces of Jhalawar, which feature Shrinathji, Radha-Krishna Leela, Ramleela, and royal grandeur.
• The Dugari painting style is related to the Bundi school of painting.

Modern Painter	Subject
Saubhagyamal Gehlot	The Painter of Nests (Need ka Chitera)
Govardhan Lal ‘Baba’	The Painter of Bhils (Bhilo ka Chitera); Tribal Life
Rajgopal Vijayvargiya	Litterateur and Traditionalist Painter
Parmanand Choyal	The Painter of Buffaloes (Bhainso ka Chitera); Modern Experimentalist
Devkinandan Sharma	Expert in Frescoes and Animal-Bird Painting
Bhursingh Shekhawat	The Painter of Villages; Depiction of Rural Life
Master Kundan Lal Mistry	Father of Modern Rajasthani Painting
Jyoti Swaroop	‘Inner Jungle’ (Famous Painting Series)
Kailash Chandra	the Painter of Jaina Style
Pratibha Pandey	The Painter of Canvas; Nature Paintings; Famous work: “Fall of Berlin”
Jagmohan Mathodia	The Painter of Dogs (Shwanon ka Chitera)
Kishan Lal Sharma	The Painter of Mustard Seeds (Rai ka Chitera)
Umesh Chandra Sharma	Painter of Batik Style
Kailash Jagotia	Pioneer of Cloth Art
Kishan Sharma	Depiction of Meera on a Mustard Seed
S. Shakir Ali	Mughal Style Painter
Pradip Mukherjee	The Painter of Phad Painting
Shilp Guru Babulal Marothiya	Miniature Painting Artist

Major Schools of Painting and Their Features

S.NO.	Schools of Painting	Primary Colours	Eyes	Tree	Animal	Bird
1	Mewar	Red and yellow	Deer-like	Kadamb	elephant	Greek Partridge
2	Jodhpur	Yellow	Almond like	mango	camel	Crow and Eagle
3	Bikaner	Yellow	Arrow-shaped	mango	camel	Crow and Eagle
4+5	Jaipur + Alwar	Green	File-shaped	peepal/banyan	horse	Peacock
6	Kota	Blue	mango like	Date palm	deer, lion	Duck
7	Bundi	Golden	mango like	Date palm	deer, lion	Duck
8	Kishangarh	White/ Pink	Dagger and Arrow-shaped	Banana	cow	Peacock, Swan, Duck
9	Nathdwara	Green and Yellow	Deer and Cow like	Banana	cow	Peacock