Royal Rajputana
Artworks from the Rajasthani Schools of painting (1600-1899) from Salar Jung Museum, Hyderabad, India
A colourful realm
A region dotted with magnificent forts and palaces amid a desert realm, with a rich and colourful history, painting styles, ballads and folklore, Rajputana is now mostly in the state called Rajasthan formed after the Indian Republic was formed in 1950.
The school of painting which originated here is considered a classic artform of India. The painting styles have evolved from Western Indian illustrations and different styles of wall paintings. Wall paintings are seen in many palaces of Rajasthan.The biggest states were Jodhpur, Jaisalmer, Bikaner, Jaipur and Udaipur.
The art and content
It is understood that artists trained in the tradition of the Mughal miniatures were dispersed from the Mughal court, and developed styles drawing from indigenous traditions of painting, especially those illustrating the Hindu religious epics, the Mahabharata and Ramayana. There were a variety of subjects for the content, but portraits of the ruling family, engaged in hunting or their daily activities, were well depicted, as were narrative scenes from the epics or from Hindu mythology, like the Bhagavata Purana, as well as some general scenes from people’s lives.
The colours were extracted from certain minerals, plant sources, conch shells and precious stones. Gold and silver were used as well. The preparation of colours was a tedious process, sometimes taking upto two weeks. Paintings were made using very fine brushes made of squirrel or camel hair.
A Maharajah's legacy
Many rulers were vassals of the Mughal Empire, but every Maharaja or ruler had his own atelier. The Rajasthani paintings have always had a regal ambience, a sense of pride and the characterisation is heroic and epic. The paintings illustrate the splendour of a kingdom and its legacy. The term Rajput painting was coined by Art Historian, Ananda Coomaraswamy which included Pahari paintings too as those princely states were also ruled by the Rajputs.
A plethora of Schools
By the late 16th Century, the Rajput art schools under princely states, the rajwade and thikanas meaning noble place ruled by Rajput rulers began to develop clear styles, combining indigenous as well as external influences such as Persian, Mughal, Chinese and European. The Mewar School contains the Chavand, Nathdwara, Deogadh, Udaipur and Sawar styles of painting.
Various schools
The Marwar School has the Kishangarh, Nagaur, Pali and Ghanerao styles, the Hadoti School has Kota, Bundi and Jhalawar styles, the Dhundar School has Amber, Jaipur, Shekhawati and Uniara styles of painting. The Malwa paintings from Central India are also a part of Rajasthan School of painting.
Power, splendour and romance
The themes of the paintings were varied and interesting. The canvas of subjects was huge. The princely rulers and their life, Krishna Lila, Shringara and its various aspects, Shiva and Parvati, the epics Ramayana and Mahabharata, the Bhagavata Purana, ballads and romances of yore, Ragamalas, seasons, landscape and animals all find a place in the repertoire of Rajasthani painting. Rulers were often shown in their darbar or royal assembly, on horseback with attendants or in elephant processions. Rajasthani paintings depict social values of the time. The rulers wanted the paintings to portray their ambitions and establish their legacy. Therefore, paintings were often indicative of a ruler's stature and legacy.
The Salar Jung Museum's collection
The museum contains a good variety of Rajasthani paintings. Many of the schools and sub schools are well represented. There are paintings from Amber-Jaipur, Udaipur, Kota, Bundi, Mewar, and Bikaner among few others. The themes are mostly to do with courtly culture, lifestyle and portraiture of the rulers. Also scenes from the Hindu epics and ancient texts like the Bhagavata Purana are in the collection. There are a good number of Ragamala paintings as well. The paintings are splendorous with good use of colour. There is an underlying sense of power, pomp and ceremony in many of the artworks, as is seen in a typical Rajput painting.
The images here take us on a journey of a fascinating land, the Rajputana of yore with its rich history, proud rulers, resonant legends and romantic folklore.
Megha Malhar Raga (1700/1799)Salar Jung Museum
Megha Malhar Raga
A Ragamala painting showing Lord Krishna and Radha in dalliance during the monsoon, cowherd maidens playing musical instruments, clouds and rain in the backdrop, a depiction of Megha Malhar Raga. The painting is from Jodhpur dated to circa 1775 A.D
A seated couple (1700/1799)Salar Jung Museum
A seated couple
A seated couple, with a camel sitting by the side and pet parrot on the shoulder of the man. The lady is holding out a handkerchief and conversing with him. This painting is from Marwar dated to circa 1775.
Samudra manthan (1700/1799)Salar Jung Museum
Samudra-manthan
Painting depicting the scene of Samudra manthan in which Lord Vishnu is seated on a elevated rock placed over a tortoise or Kurma in the sea. The snake, Vasuki is tied to the rock for churning the ocean. The painting is from Bikaner dated to circa 1740.
A Raja enjoying music
A Raja is listening to music in palace surroundings. Musicians are sitting opposite him, his pet dog near him, cistern in the foreground. Attendants are behind him with fly-whisks, blooming trees in the backdrop. This painting is from Jodhpur dated to circa 1800.
An illustration from the Panchatantra
The Panchatantra is an ancient Indian collection of interrelated animal fables in Sanskrit verse and prose, arranged within a frame story. The surviving work is dated to roughly 200 BCE – 300 CE, based on older oral tradition. The author is Vishnu Sharma, he is stated to be teaching the principles of good government to three princes of Amarasakti. This miniature is from Mewar, dated to circa 1725.
Kanwan Maha Singh of Uniara on horseback smoking a huqqa (1760/1760)Salar Jung Museum
Kunwar Maha Singh of Uniara
Kunwar Maha Singh of Uniara from the Shekhawati Rajputs, who became Thakur of Malsisar (1745 - 1770), a thikana or noble territory, who started the construction of Malsisar Fort in 1762. He is depicted on horse-back smoking from a huqqa, an attendant holding its base and a soldier is moving in front with a rifle. This painting is from Kotah dated to circa 1760.
RAWAT SALAM SINGH (1700/1799)Salar Jung Museum
Rawat Salam Singh
Rawat Salam Singh, 10th Rawat of Amet, flourished in the 1760s; the thikana or noble territory of Amet is situated hundred kilometres, north east of Udaipur on the river Chandarabhaga. He is shown seated on horse-back holding a spear in his right hand. Three small lines inscribed near the back of the Raja in the painting. This miniature is from Amber dated to circa 1750.
PRINCESS AND LADIES OF THE HAREM (1800/1899)Salar Jung Museum
Princess and ladies of the harem
Women of the harem seated in a circle on a carpet on the terrace enjoying huqqa and wine. A lady attendant holding a fly-whisk in her hand standing behind the princess and another lady standing beside the parapet holding a staff in her hand. Flower plants, cypress trees, trees and building in the background. This miniature is from Jaipur dated to19th century.
Scene of an elephant procession (1800/1899)Salar Jung Museum
Scene of an elephant procession
A splendorous painting depicting a Raja on a caparisoned elephant with attendants holding fly-whisks and parasol, some attendants holding spears are alongside. Crescent on the upper portion of the painting, sun symbol is painted in gold colour against black background. This miniature is from Udaipur dated to circa 1825.
Lord Krishna and Radha standing (1700/1799)Salar Jung Museum
Lord Krishna and Radha standing
Lord Krishna and Radha standing, probably having an argument. Lord Krishna is shown with a raised hand as if making a point. Inscription in Devanagari script on top and bottom of the composition. This miniature is from Jaipur dated to circa 1775.
MAHARAJA PRATAP SINGH II (1700/1799)Salar Jung Museum
Maharaja Pratap Singh II
Maharaja Pratap Singh II was the Maharana of Mewar Kingdom (ruled 1751–1754). He was from the Sisodia Rajputs of Mewar. He is seen here in royal finery wearing a muslin garment and a turban decorated with jewels, pearl necklaces and wristbands. This miniature is from Mewar dated to circa 1775.
Narasimhavatar (1600/1699)Salar Jung Museum
Narasimhavatar
Narasimhavatar, one of the incarnations of Lord Vishnu; had appeared in this avatar to kill evil King Hiranyakashipu, father of Prahlada. Watching the victory with folded hands are Prahlada and his mother. This miniature is from Alwar and dated to circa 1682.
ILLUSTRATED PAGE - WAR SCENE (1800/1899)Salar Jung Museum
Illustrated page - war scene
A folio of an illustrated manuscript having Devanagari script, on either side of the folio, presenting a war scene. A king with his two consorts seated in a marble pavilion and besieged by the enemy force is depicted here. This miniature is from Jodhpur dated to 19th century.
REDEMPTION OF AHALYA (1700/1799)Salar Jung Museum
Redemption of Ahalya
Episode from the Ramayana, depicting the redemption of Ahalya by Lord Rama. This miniature is from Malwa dated to 18th century.
KRISHNA SWALLOWING FIRE (1600/1699)Salar Jung Museum
Krishna swallowing fire
Lord Krishna swallowing fire, four cowherds, two on either side and four cows in the foreground. The painting is from Malwa dated to circa 1650.
Bhairavi Ragini (1800/1899)Salar Jung Museum
Bhairavi Ragini
Bhairavi Ragini is commonly represented by a young heroine or nayika worshipping at a temple dedicated to the Hindu god Shiva. Here, in this painting, a princess kneels in front of a lingam, the aniconic form of Shiva, while chanting hymns in honour of the god and playing cymbals. There are four attendants behind her. Floral design on all sides of the painting. This miniature is dated to early 19th century.
SIEGE OF A FORT (1800/1899)Salar Jung Museum
Siege of a fort
A king seated in a howdah or sedan chair carried by attendants. Armed chief guards standing towards left. Attendants are seen holding fly-whisks and chatter, standing towards right, a mahout riding an elephant with a goad in his right hand.
Armed horsemen are before the king. The infantry are besieging the fort with cannons firing. Soldiers are fighting at the entrance of the fort. Golden bands around the painting. The miniature is from Jaipur and dated to mid 19th century.
A LADY SEATED FOR SHRINGAR (1700/1799)Salar Jung Museum
A lady seated for 'Shringar'
A lady seated against a bolster looking at a mirror held by a lady attendant during shringar or detailed make-up, in front of her. This miniature is dated to circa 1725.
ILLUSTRATION OF RAG DHOLA MARU (1800/1899)Salar Jung Museum
Illustration of Rag Dhola Maru
A lady in male dress seated on a camel facing a male seated on a horse. This is a depiction from the love story of Marwar prince Dhola and Poogal princess Maru. This miniature is from Marwar and dated to 19th century.
Text and Curation: Soma Ghosh
Photography: M. Krishnamurthy and Bahadur Ali
Research Assistance: Dinesh Singh and E. Rajesh
Special thanks to Dr. A Nagender Reddy, Director, Salar Jung Museum, Hyderabad, India.
References –
1. Comaraswamy, Ananda (1976) Rajput painting, Delhi: Motilal Banarasidass
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