Maths Class 12

(2022-2023)
UNIT-1
The Rajasthani School of Miniature Painting
Origin and Development:-

Rajasthani School was a continuation of old Indian tradition. This art was developed under the Rajput kings.
Paintings of Rajasthani or Hindu style is also known as Rajput style. In the beginning, this school had Mughal
influence, but later it was established as a purely Indian art having no Mughal influence. Rajasthani School
did not originate as miniature, but it was primarily a mural art.
During the attack of Mughals, the whole Rajasthan was affected but Mewar remained safe till the end. So,
Rajasthani School flourished first in Mewar (Udaypur). Later, it flourished in Jaipur, Jodhpur, Bundi,
Kishangarh, Bikaner and other places of Rajasthan. Kishan Singh ruled at Kishangarh. After Kishan Singh, Raja
Sawant Singh’s son Raja Raj Singh ruled Kishangarh and art reached its climax. Raja Sawant Singh was also a
very famous king of Kishangarh. Rajasthan was a place of ‘Raja’ (Kings) or place of ‘States’. That’s why it was
known as Rajasthan.
Rajasthani Art had purely Hindu feelings and had Indian sensibility.
Sub-Schools:-
Mewar:- In the beginning of the 15th century, miniature painting were painted in Mewar area. Its most
developed form can be seen in the paintings of ‘Palam Bhagvat’. There are some other paintings based on
the themes of the painter ‘Sahibdin’ and ‘Manohar’. They painted many immortal great paintings based on
Bhaktiropatras, Panchvyakhyanoropatra, Banbhedropatra and Ragas. Mewar artists, generally, prefer a
Flashy (Bright) colour palette with prominent reds and yellows.
Bundi:- The first miniature painting of Bundi style was painted in Chunar in the form of Ragmala series of
paintings. The art skills of Bundi style are unique due to the conjugation of the Mughal and Deccan art
elements. But, Bundi has a well-practiced hand in portraits.
Jodhpur:- Jodhpur got are tradition in heritage from Mewar. In the beginning of the 17th century, it was
known for Pali Ragmala paintings. Pure indigenous delineation is the stylistic characteristic of these
paintings.
Bikaner:- In this sub-school, there is abundance of elements of the Mughal art, because the painters of the
Mughal court came to Bikaner. They implemented customs of Mughal art in the local art. As a result, the
new style of painting came into existence. These painters accepted the tradition of Bikaner style of painting
and kept their inclination towards the paintings of the Hindu myths.
Kishangarh:- Mysterious beauty of women is the life of Kishangarh style of painting. The immortal paintings
like Radha (Bani-Thani) and the painting of King Sawant Singh are the identity of Kishangarh style.
Jaipur:- In Jaipur, this style of miniature painting got patronage in the reign of King Sawai Jai Singh. In Amer,
more paintings have been made on abstract subjects. Live shapes and hunting scenes is the identity of
Ajmer-Sawar. Other centres of this sub-school are Jalor, Jaisalmer and Puskar.
The Main Characteristics or features of Rajasthani School of Miniature Painting :-
 Variety in Themes : There is a great variety in themes of Rajasthani Paintings. Themes are based on
seasons, music, hunting scenes, religious themes like Ramayana, Mahabharata etc., love scenes, ragmala
series etc. In love scenes, Krishna and Radha have been depicted in Nathdwara (Mewar) painting.
 Colour Scheme : The main colours used are the primary colours (red, yellow & blue), green, brown and
white. Other colours in use are golden and silver.
 Costumes : Females are wearing Lehanga and Choli with Transparent Dupatta. Males are wearing
turbans and Jhoba (a group of threads), pyjama and Patka.
 Facial Features : Faces are full of emotions and feelings according to the mood. The faces are in profile,
elongated and oval, the forhead is inclining downwards, long and pointed nose, swelling out lips and
pointed chin.
 Depiction of Women : The women of Kishangarh School are very impressive.
 Lines : The lines are very fine, powerful and rhythmic. In Jaipur Style the lines are more important than
the colours.
 Depiction of Nature : Nature has also been depicted very beautifully. Different types of trees, floral
trees, mountains, water springs and lakes have been depicted in a very attractive manner.
The Rajasthani Paintings:
Maru-Ragini (Sahibdin):-
Artist : Sahibdin Sub School : Mewar (Udaipur)
Medium : Tempera (Water Colours) on Paper Collection : National Museum, New Delhi
Period : Circa 18th Century A.D.
Subject Matter: Maru-Ragini is a vertical painting from Ragamala series.
Description-1 : In this vertical painting background is yellow but forground is light green. Two escorts are
running along the camel riding couple. A band of sky with blue colour has been also shown. The camel has
been shown with full enthusiasm. One male attendant is leading the camel. A hunting dog is also running
ahead of the two escorts. The sky is deep blue. Yhe dresses of all the figures are flat colour. Camel is well
decorated. The king is holding a flower in his right hand and looking at the queen. In the painting facial
expressions are shown with Rhythmic lines. On the top of the painting Maru Shri Ragini is written.
Description-2 : The love story of Dhola - Maru is very popular in Rajasthan and is narrated both in Murals
and miniature paintings. The composition of the painting is divided into two parts. Dhola and Maru are
shown seated under a yellow canopy with a red curtain in the upper part of the composition. Dhola is
dressed in typical aristocratic attire complete with weapons like sword and shield, facing his lover Maru in
Rajasthani costume. The lower part of the composition shows Maru caressing her pet camel. Both the
figures are prominent against a green background dotted with flower motifs. Stylished motifs of trees are
bringing a unity in the composition.
Chaugan Players (Dana):-

Artist : Dana Sub School : Jodhpur
Subject Matter: Chaugan Players is a horizontal painting in which two princesses are playing Polo with their
four maids.
Description: The princesses are sitting on the back of two different horses in the upper section of the
Painting and are facing each other. While the other four horses in the lower section with the maids are on
the running in opposite direction, but the faces of maids are on the same side where princesses are looking.
Figures have been perfected against red, yellow, ultramarine and orange background. All six Polo sticks are
covering the ball.
All ladies have high rounded foreheads, faces are profile. The eyes of ladies are elongated up to their
temple. Their skirts are spread on the horses back like bells in a stylized manner.
The composition is against a flat green background. Colours are very bright. A light green landscape shows
harmonious contrast to the painting. All the dresses are in contemporary Rajput costumes and well
ornamented.
Krishna on Swing (Nuruddin):-

Artist : Nuruddin Sub School : Bikaner
Period : Circa 1683 A.D.
Subject Matter: This painting is based on the Rasikapriya of Keshvadasa. The most widely illustrated work of
medieval Hindi poetry. One day Krishns, takes with him on the swing a gopi other than Radha. This behavior
of Krishna offends Radha whose love for Krishna will not tolerate any one in between. On this Radha feels
betrayed and upset.
Description: The painting “Krishna on Swing” is yet another marvelous achievement of this period. The
painting has two panels depicting two different part of scene. On the first part of the panel Krishna is shown
sitting on a swing on the left side of the panel. He is wearing a tiara on his head, his upper part is semi-
clothed and there is white flower garland on his neck. There is a Dupatta hanging from his shoulders, and he
is wearing an orange coloured ‘dhoti’. The blue complexion of his body has been highlighted. The swing has
an ornamental border is hexagonal shape. He has his eyes fixed on Radha who is sitting on terrace. She is
wearing traditional but decorated ‘Ghangra’ and ‘choli’. They are looking at each other. Her head is covered
with a transparent Odhnis and she is sitting on arced carpet. There is pillow supporting the back of both
Radha and Krishna.
In the lower panel, both Radha and Krishna are sitting at different places under a tree in a foreground. An
attendant of Radha is also shown in the painting. She has perhaps brought a message for Krishna. Here again
Krishna is wearing tiara, garland and Dupatta, but his dhoti is of yellow colour. Both Radha and Krishna are
sitting on red carpets supported by pillows. Radha is wearing yellow colored “Ghangra” and “Choli”. The
attendant standing striped Ghangra Choli of light purple colors. Both the Tree and a mound are in the
background. The leaves of the trees are shown clearly in cluster of repeating pattern. Each leaf of the tree
reveals the artist’s delight in rendering details. The mound is drawn in typical Rajasthan style.
Radha [Bani-Thani] (Nihalchand):-

Artist : Nihal Chand Sub School : Kishangarh
Subject Matter: The painting is based on the court dancer of Raja Sawant Singh of Kishangarh named Bani-
Thani. The king was great devotee of Radha and Krishna. He gave the name Bani-Thani to his court dancer.
Description: This is one of the most well known paintings of Rajasthani Art of Kishangarh. Nihal Chand’s
painting Radha which means well turned out. Her face is elongated with high and sloping forehead, pointed
and long nose bulging out well cut lips, and pointed chin, her long black tresses are flowing down from her
shoulders to her waist. Long tapering fingers of her right hand are delicately holding the edge of the
transparent Orhni. In her left hand there are two lotus buds of pink and white colour which she is holding
with her delicate fingers. Orhni is decorated with golden motifs. She is wearing a white pearl necklace
around her neck. The painter was inspired by the poem of Raja Sawant Singh., who describes the beauty of a
lady called “Bani-Thani” in his poem. The beauty of this woman is symbolically used to describe the beauty
of Sri Radha.
Her smile is supposedly enigmatic; her eyes reflect the ideal feminine beauty of classic Sanskrit Literature.
She is painted as an ideal of Indian womanhood and can easily be compared to Monalisa supposed to
eptomise the ideal of womanhood. A postal stamp was issued by Indian government based on this painting.
Bharat meets Rama at Chitrakuta (Guman):-

Artist : Guman Sub School : Jaipur
Subject Matter: The Painting depicts a scene from Ramayana, when Bharat comes to Chittrakoot to meet
Rama with his three mothers and Guru Vishwamitra. Various episodes have been shown in a single scene.
Description: This one is a very popular episode of Ramayana, largely known as “Bharat milap”. The painting
depicts the emotional moment when Bharat, the whole incident is taking place at the jungle of Chittrakoot
where Rama stayed for few days. In the background, the use of green colour in different shades is the
speciality of this painting. In the foreground and in front of the huts Rama, Sita and Lakshmana stands out
against the green forest. Behind the hut a grove of lush green banana trees has been painted.
This small painting has about forty nine figures in the centre of the painting. Rama has been shown
prostrating on the ground, touching the feet of his Guru. Lakshmana stand nearby, facing Vishwamitra with
folded hands. At one place Rama is meeting his mother. Some ladies can also be seen in profile standing and
sitting. In front of all we can see a stream of White and Red lotus flower. Colour balance is very good. At this
time Mughal influence had receded and a genuine Jaipur style came into prominence. The artist has created
a perfect atmosphere of hermitage with a small hut and different kinds of plants and trees.
The Pahari School of Miniature Painting

Gular is the supposed to be the place of origin of Pahari School according to different scholars. Some
scholars consider Basohli as the origin place of Pahari School. In 1780 A.D., the ‘Gular Kalam’ was at its peak.
Then it entered Kangra and came to be known as ‘Kangra Kalam’.
Aurangzeb was a cruel Mughal ruler, He hated painting and music. So, most of the Mughal artist went to hill
where they got shelter and there they invented a different new style of painting known as Pahari School of
Art. In the beginning, Pahari School flourished as a folk art, but when the Mughal artists got patronage from
kings of that place who were religious-minded, it came to be known as ‘Pahari Kalam’.
Some scholars consider Gular as the place of origin of Pahari School for many different reasons. Firstly, the
kings of Gular had friendly relations with Mughal emperors. There can be the possibility that the artist from
Gular might have shifted to Delhi or the Mughal artists might have shifted to Gular as it was nearer place for
shelter and they might have renewed the folk art Gular by adding some newness to it. Some scholars
consider that due to Aurangzeb’s cruelity, Mughal artist might have shifted to Basohli and according to
them, Basohli which flourished under Raja Kirpal Pal is the origin place of Pahari School.
The oldest Kangra paintings are connected with Gular where Raja Goverdhan Chand and his family have
been depicted. After him Raja Prakash Chand and then Raja Bhoop Singh came into power. Then under Raja
Sansar Chand’s patronage, finest paintings were created. This Raja Sansar Chand’s period is considered to be
the ‘Golden Period’ of Kangra School. Pahari style was mainly influenced by Mughal and Rajasthani style.
Sub-Schools:-
Basohli:- This style came into existence when Mughal emperor Aurangzeb had restricted all the forms of art
in his court. In the middle of 17th century, the court painters moved towards the hilly states. They
implemented technical co-ordination of various elements of the Mughal style into the art forms previously
existed there. The new form of art that came into existence was called Sub-school of Basohli Miniature
Painting. Although these artists were subservient to their patrons, yet they were fully independent in
selecting the subject matter. In their new paintings they included only the specific elements of the Mughal
style.
The painters started making paintings on abstract themes of the literary volumes such as Ras-Manjari, the
Ramayana, Geet Govinda and Raagmala.
The paintings of this style are almost square in shape double storied or high-towered buildings have been
shown in the background of these paintings. Hilly environment, river, waterfall, clouds, lotus and other
flowers have been used as ornamental elements in the painting.
Gular:- Gular is famous for both types of the painting- individual and subjective. It wonderfully inaugurated
the mysteriousness and the beauty of women. The emotional disposition of Gular’s paintings is not seen
even in paintings of the Mughal style.
Extraordinary tenderness in colours, extraordinary execution of work, wonderful thinness in underlining,
emotional delineation and the perspective provide excellence to Guler’s paintings. Fawns, cottony clouds
and emotive nature are characteristics of Gular’s painting.
Kangra:- Miniature painting of Kangra are glory of Pahari painting. In these paintings we can feel smell of the
soil of that place. Tenderly engraved features of women are pleasing.
Kangra style was on apex of its excellence in the reign of the king Sansar Chand. The pomp and show of the
king’s court has been shown with the medium of thin lines and colours. The human portrait painted here are
natural and beautiful.
Keshav Das’s poetry ‘Rasik Priya’ has been the lovely topic of Kangra style painters. Radha-Krishna has
sometimes been painted as a lover-beloved and the other side as an actor-actress. The painters of this style
have painted the love-stories of Sasi-Punno, Heer-Ranjha and Sohani-Mahiwal and others.
Red, yellow and blue basic colours are placid and decorative. Delineation of beautiful margins, ornaments
and buildings are praiseworthy. Balanced shape of trees and the panoramic, natural scene, magnificence
teeming with the leaves, flowers, shrubs and hills provide speciality for Kangra-styled paintings.
Chamba:- Inordinate bewitching, tender and unusual figures of women give distinct identity to miniature
paintings of Chamba. The painters of this style have prominently showed red and blue colours with the co-
ordination of artistry and technique.
Garhwal:- Garhwal style looks like Guler style. In the paintings painted here shows charmness of colours,
clarity in expression and tenderness of beauty. Systematic paintings and too developed symbolic design is
the speciality of Hindoor (Nalagarh) Art.
The Main Characteristics or features of Pahari School of Miniature Painting :

 Depiction of Women : Faces of women are in profile and are round in shape. Their nose is almost in
line with forehead, eyes are long, narrow and expressive like bows and the chin is sharp.
 Depiction of Line : Rhythmic lines have been depicted which are smooth in nature and are very fine. The
drawings of eyes are very fine and worth praising.
 Colour Scheme : Mostly Primary colours have been used. Some colours like pink, mauve, grey and green
have also been used. Golden colour is used in large scale. Thered coloured borders have been used
having an influence of Mughal Style.The colours are strong and contrasting. In the garments and
ornaments, golden and silver colours have been used. The lightning has been shown through silver
colour.
 Garments : Choli, Lehanga and Transparent Odhanis have been worn by women. Male have been shown
in Pyjamas, Turban and Angrakhas.
 Depiction of Nature : Trees, clouds, jungales, mountains, foliagr, rivers, aquatic birds etc. have been
depicted beautifully. The rainy season and lighening effects have been nicely painted.
 Perspective : In spite of having no proper perspective, the Pahari paintings appeal to us.
 Romantic Scenes : Many romantic scenes have been found in Pahari style. Krishna symbolizes ‘God’
(Hero) and Radha symbolizes ‘Soul’ (Heroine) in many of these painting.
The Pahari paintings:
Krishna with Gopis (Manaku):-

Artist : Manaku Sub School : Basohli
Subject Matter: This horizontal painting is an illustration from the ‘Geeta-Govinda’ series by Jayadeva. It
deals with the legends and the plays of Radha and Krishna symbolizing soul’s devotion to God.
Description: The painting ‘Krishna with Gopis’ is based on Jaydwa’s ‘Geeta-Govinda’-painted by famous
painter Manaku. It is supposed that it was painted for a private patron Malini. The painting presents Krishna
surrounded by Gopis singing and dancing on the back of river Yamuna. The composition is in typical Basholi
style with geometrical pattern. The use of bold colour infused vitality in the painting. Krishna is wearing a
bright yellow dress with his upper body naked but ornamented. He is also wearing a crown with jewels and
peacock plumes. There is no use of perspective but colour combination with golden background has been
given sufficient depth to the painting. The clarity of the designs and lines and intensity of felling is achieved
by the use of colour like golden yellow, Vermilion mixed with colour tones of blue and green enhancing the
felling of intensity and the beauty of the painting.
In this painting, the human figures a backward sloping forehead, lotus like large eyes, high nose almost in
the same line of forehead and powerful bodies presented idealistic body symmetry and lent distinction to
the Gopis figure. The shining emerald in the ornaments pieces of iridescent bettle-wings are used in the
illustration of the jewels. Besides the bold colour lustrous enamel like colour is also employed. The figure of
women are shown clad in rich costumers, stylized faces, bulging eyes lend a natural stage like setting for the
group. This is one of the best paintings drawn by Manaku expressing the beauty and brilliance of Basholi
style.
Nand, Yashoda and Krishna with Kinsmen going to Vrindavana (Nainsukh):-

Artist : Nainsukh Sub School : Kangra
Period : Circa 1785-1790 A.D.
Subject Matter: This painting is based on the story of Bhagavat Purana showing Nand, Yashoda and Krishna
with Kinsmen in a scene from their journey while migrating from Gokul to Vrindavana. Nand, a chieftain of
his township was advised by his people to shift to Vrindavana close to Goverdhana hill. Kansa’s court was
near Gokul and he was making repeated attempts to harm Krishna. But people wanted to save their future
savior (Krishna) and knew that he was no ordinary human.
Description: This painting depicts a group of people with their cattle and other belonging journeying to
Vrindavana. Nanda is seated on a bullock cart with a dome shaped canopy drawn by two bulls and driven by
a cowherd. On the right side, a cart is carrying baby Krishna. Others accompanying Krishna are possibly
Balram, Yashoda and Rohini, his stepbrother, foster mother and stepmother respectively. Men and women
are carrying their belonging in basket and tied cloth bundles either on their heads or shoulders. A few ladies
are carrying jars, a spinning wheel can also be seen. Their humble lifestyle is portrayed in their half clad
bodies and simply dressed women. The ghagras of the walking women have characteristic horizontal stripes.
The landscape in the background shows a line of trees having intricate details of leaves and trunks carved
along the path with two rocks in a groove and two birds sitting on them. Each face is a careful study of
portraiture wherein most of the faces are ek-chashma, and cows are realistically depicted with distinct size
of horns, skin colour and other anatomical details.
The lines defining the contours are thin and delicate. The painting has a very subtle appeal due to its colours.
They are neither too bright nor too gaudy but still very lively. The sky blue river behind the line of trees, light
ochre of the ground and cattle are in earthy colour whereas the figures are painted in brighter colours.
*******
UNIT-2
The Mughal School of Miniature Painting

The origin of Mughal School of Painting is considered to be land mark in the history of Painting in India. A
new culture of painting developed under the patronage of the Mughal rulers of Timur dynasty in Bukhara
and Samarkand and it reached its peak during the 15th century. Timur gave due regard and importance to
the artist in his court. Bihzad was the best artist among all the painters of that time. He basically was a
Persian artist. He was known as the ‘Raphael of the East’. He was greatest painter in the court of Sultan
Husain Mirza. After the death of this Sultan, Bihzad took a job in the court of Safavid Shah Ismail. Bihzad
basically belonged to Timur dynasty. Timur dynasty was the origin of Mughal Period.
The first Mughal emperor of India was Babur who was a man of aesthetic sensibilities. His son Humayun
patronized the art of miniature painting and brought a few Persian artists to India. Notable names were
Abdus Samad, Mir Sayyid Ali. It was from these artists that Humayun and his son Akbar took lessons in
drawing.
The first major works of Mughal miniature were probably begun under Humayun but was completed under
Akbar. During his period miniature paintings were lively and realistic and even contain of individual
portraiture. This period was known as the ‘Golden Period’ of Mughal Art. In the Akbar’s coutier, the Hindu
painters were in majority but they were to workunder the direction of two Iranian master artists- Mir Saiyad
Ali and Abdus Samad. After Akbar his son Jahangir became the emperor. In his time Mughal paintings
achieved its Zenith, both as decorative art and the nature study. Farukh Baigh, Aqua Raja, Ustad Mansur
were main painters in Jahangir’s studio. Most of the paintings were executed in tempera technique and
maximum number of portrait paintings were painted in Shah Jahan’s period. There were tremendous uses of
gold with lot of decoration keeping the Mughal style. The Awadh School developed a style of its own.
The Main features of Mughal School of Miniature Painting :

 Historical Scenes : During Akbar’s rule, maximum number of historical scenes were made e.g. illustration
of the minuscipt related to historical scene namely ‘Kissa-Amir Hamza’. Mostly historical scenes were
painted during Mughal School.
 Linear beauty : When we look at the portrait of Mughal style, we become familiar with the importance of
beautiful, thin and thick fine lines. The lines are so fine that even the minutest details are clearly visible.
 Border Decoration : All the Mughal paintings are decorated with borders which are ornamented. In some
paintings, the boeders dominate the painting.
 Profile Faces : Profile Faces is the main feature of the Mughal style. Whether the figures are frontal or in
side pose, the faces are always in profile.
 Garments : The female figures are shown wearing transparent odhanis, while the male figures are shown
wearing Angarakhas and Churidar Pyjamas alongwith decorative turbans. Ornamental decoration stories is
seen in the garments.
 Religious Themes : Depiction of religious themes like The Ramayana, The Mahabharata, The Nala
Damyanti themes and Panchtantra stories is there in the paintings.
 Depiction of Nature : Nature has been depicted so beautifully that even each leaf has been painted
separately. Trees, plants, leaves, rivers, mountains etc. have been depicted gracefully.
 Colour Scheme : Mostly natural colours have been beautifully used. Earlier paintings had flat colours, but
later on, depth with the help of shading was shown.
 Calligraphy : Calligraphy was done in black colour in most of the paintings. Artists wrote their names
beautifully also.
 Depiction of Animals and Birds : Ustad Mansoor was the main bird painter. ‘Falcon on a Bird-Rest’ is the
one of his best paintings. Animals and Birds were depicted beautifully in Mughal Paintings. Camel fights,
elephant fights etc. were depicted beautifully. Other animals like goats, horses, tigers, lions etc. were also
depicted gracefully.
The Mughal Paintings:
Krishna lifting mount Govardhana (Miskin): -

Artist : Miskin Medium : Tempera (Water Colours) on Paper
Collection : National Museum, New Delhi Period : Circa 1585-1590 A.D. (Akbar’s Period)
Subject Matter: This painting is based on the story of Lord Krishna. This painting’s theme has been taken
from the ‘Bhagwata Puran’. This painting’s scene is of that time when Krishna once lifted the Govardhana
mountain on his little finger to save the people of Gokul from the wrath of Indra who had let loose heavy
rains.
Description: The painting “Krishna lifting mount Govardhana” is an exquisite piece from Akbar’s atelier. It
shows Krishna holding the mount Govardhana on his little finger. The mountain has been made to appear
realistic by painting massive rocks, large trees and innumerable animals like deer’s and monkeys. Shrubs and
grassy pastures are painted between rocky ridges.
The rendering of the mountain shows strong Persian influence. A little bit of sky is visible above the
mountain. Below the mountain, all folks of Braja are gathered along with their cattle to take shelter from the
deluge cased by the angry rain-god, Indra. Blue is the predominant color in this painting. Lord Krishna is
painted in his “Virata-rupa”. He is dressed in usual “Pitambar” and a large garland of white flowers hanging
from his lifting the huge mountain effortlessly. This painting was painted for the manuscript “Harivansh”.
Falcon on a Bird-Rest (Ustad Mansoor):-

Artist : Ustad Mansoor Medium : Tempera (Water Colours) on Paper
Collection : Maharaja Sawai Man Singh Museum, Jaipur
Period : Circa 1618-1620 A.D. (Jahangir’s Period)
Subject Matter: This is based on Jahangir’s love for birds and animals. He was a keen falconer and treasured
fine specimens of falcons, brought from different places. A superb falcon brought Persia was moulded by a
cat and died. Jahangir asked his painters to paint his precious pet falcon to be preserved in Jahangir Nama.
Description: Mansoor has painted tamed falcon resting on a cushioned bird-rest. The falcon is painted in a
great realistic manner with a refinement of details. The bird is painted in white against the yellow
background which is contrasted with the brownish-black feathers of its folded wings. An isolated figure of
the falcon shown on its perch in rigid profile is centrally positioned in the composition. Black markings all
over the wings suggest that it is in the likeness of the pet-falcon of Jahangir.
The expression of cruelty in its eyes is an item of great astonishment to those who have seen it. The sharp
beak and round vigilant eye are painted in shades of deep yellow ochre. A patch of light blue marks the
feather on the back of its neck. A thin string is tide around the falcon’s neck and hangs loosely to the ground.
Kabir and Raidas (Ustad Faquirullah Khan):-

Artist : Ustad Faquirullah Khan Medium : Tempera (Water Colours) on Paper
Collection : National Museum, New Delhi Period : Circa 1640 A.D. (Shahjahan’s Period)
Subject Matter: This painting belongs to the era of Dara Shikoh who respected all religions equally. This
painting shows two prominent saints of that time- Kabir and Raidas. Dara Shikoh being a muslim has shown
Hindu Saints in the painting. This painting is one of the masterpieces of that time.
Description: The Horizontal painting of Saint Kabir shows him weaving a garment on his loom, in a
meditating mood. The other saint, Raidas sitting close by, is also in the same mood. Both are meditating on a
same religious topic. The painting brings simple and peaceful Indian village life, where work is work ship. The
huts of the saints are in rural Indian villages. The colours used are Brown and light Blue. The border of the
painting is light Brown and shades are very fine.
Dara Shikoh respected both Hindu and Muslim saint. This is the master piece of the paintings painted during
that time.
Marriage Procession of Dara Shikoh (Haji Madani):-

Artist : Haji Madani Medium : Tempera (Water Colours) on Paper
Collection : National Museum, New Delhi
Period : Circa 1740-1750 A.D. (Provincial Mughal)
Subject Matter: This painting is based on the marriage procession of Dara Shikoh. Marvellous depiction of
various types of fireworks can be seen in the background. Well decorated border is there.
Description: ‘Marriage Procession of Dara Shikoh’ is a large vertical painting depicting of marriage
procession of Dara Shikoh. The ‘Barat’ is received by a large gathering of men, women and young boys of
bride’s party. There are lights of fire-works, candle and torches illuminating the whole scene with brilliant
light and showing the clapping and singing crowd of the bride’s relatives. Most of the distinguished people of
the ‘Barat’ are on horse-back including Emperor Shahjahan himself who has a halo round his head. Prince
Dara Shikoh is leading the procession himself. He is wearing a brocaded angrakha and veil of pearls. The
brides’ relatives are dressed in brilliantly coloured cloths decorated with golden colours. Dara Shikoh and his
father Emperor Shahjahan are painted in profile so are most of the bridegroom’s processing only a few
figures are in the three-quarter profile. The women accompany the Barat are shown riding on elephant in
the far distance near the horizon. The bride’s relatives receiving the guests are wearing multi coloured
dresses with golden brocading. In front of the bridal reception party, a boy is seen dancing abandon with the
beat of drums.
The Deccan School of Miniature Painting

The Deccan (Deccani) School of Miniature Painting had its beginning in 1560 A.D. When Mughal School had
its existence, the Deccani School was already in existence. When the Mughal Emperor Aurangzeb threw out
Mughal artists from Mughal Empire, several artists migrated to Deccan and sought patronage there. The
Mughal influence entered Deccan (16th and 17th centuries) were Ahmednagar, Bijapur and Golconda. In the
Mughal style started developing in Deccan, but later in the 17th and 18th centuries, Mughal influence on
Deccani paintings increased a lot.
So, the Deccani paintings developed and flourished in Ahmednagar, Bijapur and Golconda and also in other
centres of Deccan like Hyderabad and Tanjore. A surprising large portion of the surviving masterpieces of
Indian Painting was produced for the mysterious Sultans who ruled the Deccan.
With dramatic intensity typical of the Deccan, the artist has recorded the vigorous poses and forward thrust
of a moving crowd. Sometimes the Mughal artist for all his familiarity with Western Painting represented a
group of people and wars of densely packed bodies.
Although little is known about the history or civilization of Deccan, it has now become clear that at least the
kingdoms-Ahmednagar, Bijapur and Golconda produced paintings of astonishing quality. By the mid 17th
century, Deccani painting particularly at Golconda was rising to dazzling new heights.
So the origin and development of Deccani School of art has left a special landmark in the history of art.
The Main features of Deccan School of Miniature Painting :
 Colour Scheme : Brilliant and beautiful colours have been used in Deccani paintings. They are different
from the colour of Northern painting style. Golden colour has been used largely in the paintings where
architecture is shown and also in the costumes, jewellery, utensils etc.
 Persian Influence : High horizon, lavish use of golden colour, the landcape, golden sky, some flowering
plans and arabesques on the top of the throne etc. all have apaersian influence on them.
 Mughal Influence : In the later phase Deccani style, Mughal influence was at its peak. Mughal influence
was due to migration of several Mughal painters to the Deccan during downfall of Mughal School of
Painting.
 Decorative Paintings : Deccani paintings were mostly decorative especially Hyderabad painting like the
flowerbeds, costumes, rich and brilliant colours, facial features etc.
 Bold Drawing and Shading Techniques : Bold drawing, shading techniques and use of rich, pure and
brilliant colours flourished at Tanjore.
The Deccan Paintings:
Hazrat Nizamuddin Auliya and Amir Khusro:-

Artist : Unknown Sub School : Hyderabad
Period : Circa 1750-1770 A.D.
Subject Matter: This painting is based on the discussion between Hazrat Nizamuddin Auliya and Amir Khusro
on a religious subject. Amir Khusro was the student of Nizamuddin Auliya.
Description: In foreground Hazrat Nizamuddin Auliya and Amir Khusro are sitting on roof and discuss on a
religious subject. The roof has orange carpet. Both are wearing Muslim dress. Amir Khusro has a red colour
musical instrument in his hand. Amir Khusro’s dress is of brown and green colour, decorated with
embroidery. Same way Hazrat Nizamuddin Auliya shown with green dress. Both have different types of
turban on heads. Amir Khusro’s turban is like Muslim, while Hazrat Auliya’s turban is round with red and
green colour. Hazrat Auliya’s head has a yellow colour ring at the back which gives orange rays. A big white
beard is Hazrat Auliya’s and Amir Khusro’s beard is black. In front of them, there are two gardens which are
having two steps going up to the roo f. on the roof, there are red wooden grills.
In the background, we can see the plants of flowers. Right back of Hazrat Nizamuddin Auliya is a big tree of
brown colour which is full of green leaves and yellow, orange flowers. Background is of light and dark blue
colour. In some places we can see violet colour also. Both faces are in profile. In the centre, a white coloured
lamp is there. Hazrat Auliya has a red colour book and a book stand of brown colour can also be seen. Full
painting is religious.
Chand Bibi Playing Polo:-

Artist : Unknown Sub School : Golconda
Subject Matter: This painting is much later work of 18th century A.D. Impact of Persian delicacy is evident in
the way it is painted. This painting depicts the interest of the royal women of that time in the field of sports.
Description: In the painting ‘Chand Bibi Playing Polo’ Chand Bibi is playing polo with three other maids. All
the four are sitting on horse-back. All the four horses are drawn in four different colours, i.e., red, yellow,
white and blue. There is another figure on the ground, who is perhaps directing the game. Two players are
trying to passes the ball with their polo sticks. All the figures are centrally located. Hoops of the horses are
uplifted. Horses are properly decorated; they are shown in full dynamic movement. They are shown as stout
and sturdy. The heads of all the five female figures are covered with head-dresses. The polo ground is
uneven, painted in green colour and reflect vivid influence of Persian style.
The costumes of the horse riders are richly decorated in bright colour in Mughal style. They are wearing
multicoloured Ghagra and Choli. Rider on the white horse has bent on horses back to posses the polo ball.
In the foreground, a pond with flowers and six water-birds in semi-circle formation has been painted. The
flowers are of red, blue and white colours.
In the background, the sky has been painted in deep blue with a moon. There is a fort near the horizon with
trees in dark colour here and there.
*******
UNIT-3
The Bengal School of Painting
National Flag of India and the Symbolic Significance of its forms and the Colours:
One of the few insignias which no nation however radical can do without is its National Flag-its identity and
mark of pride. Political rivalries and dynasties might die off in course of time but the National Flag lives on
through generations fluttering high.
The evolution of the Indian Flag, the tri-colour reflects the political development of the country during the
20th century. The building up of the National Flag as recorded in history was final outcome of various political
trends, communal tensions and waves of mass enthusiasm.
The first Indian National Flag was hoisted on August 7, 1906 in the Parsee Bagan Square (Green Park) in
Culcutta (now Kolkata). The flag was composed to three horizontal strips of Red, Yellow and Green. In the
top strip, 8 white lotuses have been shown, in the Yellow central strip ‘Vande Mataram’ in Hindi is written in
dark Blue colour and in the bottom strip, a half moon in White is shown at the left side and a White sun of
the right side.
The second Indian National Flag was hoisted in Paris by Madame Cama and her band of exiled
revolutionaries in 1907. The flag was composed of three horizontal strips of Red, Yellow and Green. The top
Red colour strip had eight white lotuses embossed on it in a row. The middle Yellow strip had the words
‘Vande Mataram’ in dark Blue colour in Devanagari. The third and last strip of Green colour had a White sun
on the left and a White crescen moon with a star on the right side.
The third Indian National Flag went up in 1917 when our political struggle had taken a definite turn. Dr.
Annie Besant (British socialist) and Lokmanya Bal Gangadhar Tilak (Indian nationalist) hoisted it during the
Home rule movement. This flag had five Red and four Green horizontal strips arranged alternately, with
seven stars in the Saptarishi configuration super imposed on them. In the left hand top corner was the
Union Jack. There was also a white crescent and star in one corner.
The fourth Indian National Flag was made in 1921. During the session of All India Congress Committee which
met at Bezwada (Vijayawada) in 1921, an Andhra youth prepared a flag and took it to Gandhiji. It was made
up of two colour- Red and Green representing the two major communities i.e. Hindus and Muslims. Gandhiji
suggested the addition of a White strip to represent the remaining communities of India and spinning wheel
to symbolize progress of the Nation.
Under the leadership of M.K. Gandhi, another tricolor flag was prepared in 1931 during the All India
Congress meeting at Bezwada. An Andhra youth brought two coloured flag to M.K. Gandhi, which was of
Red and Green representing the two major communities. Gandhiji suggested the addition of a White strip to
represent the rest of Indian communities and the Charkha, a symbol of progress on the White strip in the
centre.
On July 22, 1947, A new flag of free India’s National Flag was hoisted which was adopted by the Constituent
Assembly. The tricolor flag’s significance remains the same. Dharma Chakra of emperor Ashoka with 24
spokes was adopted instead of the Charkha.
The significances of the colours are as follows: -

Saffron - Courage and sacrifice.
White - Truth and peace.
Green - Faith and chivalry.
Ashokan-wheel - The dynamism of a peaceful change. (Work for 24 hours)
24 spokes in Ashokan-wheel - 24 Hours in each day.
Navy Blue (Dharma Chakra) - Secularism, Trust and Truthfulness.
Introduction to the Bengal School of Painting:
Long colonial empire harmed a lot to the Indian painting and pledged relating to that. European painters and
critics through their well-being even in exposing their art and their specialties. For that Indian painters
caused to give this belief that there was no excellence in traditional art developed in India. In the beginning
of 20th century, many young Indians, who were in favour of English language and European life-style,
unreasonably for their selfishness, were not only supporting the mispublicity being done by the English but
also seemed evaluating of any success on European standards or parameters.
Even the rulers and feudal chieftains of small estates seemed not only praising the European culture but also
feeling themselves glorified in adopting and assimilating that and whenever and wherever could be possible,
especially in front of British rulers, started to understand their glory in insulting the Indian culture and its
traditional values and to avoid them. In that age, vehemence and ostentation had increased to such an
extent that some influential Indians, meeting with European artists, started painting the Indian goddesses
and gods and heroes in European style as if they were their friends. Sometimes they painted Lord Shiva
wearing European clothes and sometimes showed Lord Krishna driving a phaeton. They were of the opinion
that there was nothing specific in Indian works of art of painting and sculpture except sexuality or
libidinousness and exciting emotions.
In those circumstances of being in distress, Raja Ravi Verma and Abanindranath Tagore, with their own
efforts, glorified the Indian Art and produced new feelings in the Indians with the idea of creativeness so
that the self-respect of the Indian Art did the task of Renaissance.

Indian art stood at the crossroad after the decline of Mughal Empire, and the beginning of the British
colonial rule after the mutiny of 1857. By the end of the century, the smaller feudal states where art
survived for sometime were annexed one by the British rulers. Indian painting reached almost a dead end.
The British ruler in the mean time had set-up art schools at Bombay, Madras (1850) and Calcutta (1854), and
by systematic propaganda successfully persuaded the educated Indians to believe that Indians had no
cultural heritage of their own.
At this point of our identity crisis, there came some highly gifted artists who tried in their own way to give a
sense of direction to the art movement of the country and created confidence in the traditional values and
rich heritage of Indian Art and made the Indians conscious of the fact. Their efforts included Raja Ravi
Varma, Abanindranath Tagore, Gaganendranath Tagore, Rabindranath Tagore, Nandlal Bose and Jamini Roy
and ably supported by E.B. Havell, the principal of Government Art School at Calcutta.
This Enthused the Indian artists to turn for inspiration to true native tradition. A group of Bengal artists gave
birth to a new painting style based on old Indian traditional paintings of Ajanta, Bagh, Rajput and Mughal art.
They created a sort of new renaissance under the guidance and leadership of Abanindranath Tagore.
Thus under the influence of Principal E.B. Havell and Abanindranath, Indian artists looked back the
traditional painting of Indian with respect and got themselves separated from the blind copying of the
lifeless western realism. Thus was born the Bengal School of which is more a style than a regional
development, is the first school representing important art movement in modern India.
During this period all types of painting, religious, social and historical events, birds, animals and landscapes
were painted in this style.
The Main features of Bengal School of Painting :
 Based on Indian Traditions : The Bengal School is fully based on the Indian traditional style as the
subject matter of this school is based on Indian culture. The paintings based on Indian theme like
‘Mahakali, ‘Shiva Parwati’Krishna and Gopis etc. prove the Bengal School’s Indian mentality.
 Influence of Ajanta Paintings : Bengal school is influenced from Ajanta Art. The qualities of Ajanta
Art like rhythm, grace, harmony etc. are visible in Bengal School.
 Linear Delicacy : The lines of Bengal School resemble the Ajanta Paintings. Lines are delicate and
rhythmic.
 Softness and Rhythm in Figures : The figures of Bengal School give soft effect and no hardness is
there. They are graceful and have delicacy. They are rhythmic and provide pleasant experience to
eyes.
 Beautiful Colour Scheme : The colours of Bengal School are very attractive. Wash technique is
used and colours are not bright and gaudy at all.
 Influence of Mughal and Rajasthani Schools : Mughal and Rajasthani Schools’ influence can also
be seen at some places.
 Light and Shade : The softness in the paintings of Bengal School is due to its quality of brilliant
light and shade.
 Impressive and Indian Subject Matter : The subject matter of Bengal School is very impressive
and Indian in character. Themes used are historical, religious, literary etc.
Appreciation of the following paintings of the Bengal school:
Journy’s End (Abanindranath Tagore):-

Artist : Abanindranath Tagore Period : Circa 1937 A.D.
Medium : Tempera and Wash (Water Colours) on Paper
Collection : National Gallery of Modern Art, New Delhi
Subject Matter: In this painting shows a tired and overloaded camel on the edge of death. In fact, the
artist is showing a reflection of human life through this piece of art work.
Description: The painting ‘Journey’s End’ was first published in the Bengali magazine ‘Prabasi’ and
drew acclaim from the viewers as a great piece of art. The pain and suffering of a dumb beast of
burden moved the painter so much that the pain he felt can be clearly seen in the half open eye of
the beast. The picture is painted in the new technique which he evolved with the fusion of tempera
technique of miniature painting and wash, the Japanese technique.
Red, brown and yellow wash colours give the background and the sky is filled with the diffused light
of sunset. The foreground is painted in the darker tones of the same colour to intensify the sense of
pain. There is a tint of blue where the animal is about to collapse. A massive load on the camel’s back
shows the greed of the master in exploiting the slaves to their last breath. No one is there to watch
the thin stream of blood oozing out of its mouth. The weight he has been carrying all his life for his
master is still enacted on his back so that it is not damaged. He has yet not given up hope of standing
once more to deliver the goods to his master which he is given to carry. He is on his knees with his
back legs upright and his head slightly raised as if he would make another attempt to get up.
His life’s journey is about to come to an end with the end of the day. The painting is suffused with a
romantic sentiment yet it evokes pity and sympathy from the viewers.
[Abanindranath Tagore (1871-1951 A.D.): Abanindranath Tagore was born on August 7, 1871 in a
famous Tagore family at ‘Jodasanko’ in Calcutta (Kolkata). He was dedicated to art like his
grandfather, father and elder brother.
It was the time when both the Indian Art and tradition were declining due to mispropaganda of the
Britishers. But Abanindranath developed a new style with the co-ordination between Indian tradition
and European realism. Resulting that it was recognized as Modern Indian Style of Painting.
Famous painting of Abanindranath are- Bharat Mata, Ganesh Janani, Birth of Buddha, Buddha and
Sujata Tisyarakshita, Taj Mahal, Death of Shahjahan, The Evening Life and Fog and Evening.
Through the painting named Journey’s End, he has tried to awaken human sensations as mercy and
sympathy, in the mind of the spectators, towards their pets.]
Shiva and Sati (Nandlal Bose):-

Artist : Nandlal Bose Period : Circa 1947 A.D.
Medium : Tempera (Water/Sepia Colours) on Paper
Subject Matter: In this painting Lord Shiva is shown seated and carrying goddess Sati in his arms and
the scene is related to one of the main episodes of Shiva and Sati. Here Sati is dead. The subject
matter is totally matches the title.
Description: This monochromatic painting seems to be inspired from Ajanta paintings. A halo is
shown around the head of Shiva for representing him as God. Expressions are very good. The shades
of light in white colour have been depicted on foreheads of both figures and also on body of Shiva.
The painting has been made in brownish monochromatic effects. The effects of clouds in the
foreground are very impressive. The background is quite attractive.
Sati has sacrificed her life for the sake of her husband Shiva’s self respect. Sati’s father Daksha who
was against their marriage spoke abusive words for Shiva in the great party (Yajna). So, Sati ended her
life through her intrinsic power by burning her body through fire. So, in this painting, Shiva is carrying
Sati in his arms. He is in sitting pose. It is one of the best paintings of Nandlal Bose.
[Nandlal Bose (1882-1966 A.D.): Nandlal Bose wasborn at Munger (Kharagpur) on December 3, 1882.
While studying at Art College, Kolkata, he was introduced to the Vice-Principal, Abanindranath Tagore
and there he learnt tricks or short formulae of modern Bengal paintings. With the co-operation of
Abanindranath, to assist English mural painter Lady Herringham, he was sent to prepare the facsimiles
of the Ajanta and the Bagh Cave. In this way he got an opportunity to come into contact with the
excellent paintings of Indian Art. From this very place came wide maturity and changes in his style.
Among his famous paintings are- Sati, Shiva Drinking Poison, Parthsarthi, Returning of Buddha,
Swarnkalash, Shivlok, Sujata, Uma, Veenavadini, Ardhnarishar, Vriksharopan, Shiva and Sati, Mother
and Child etc. His linocut made on Dandi March is very famous.
In 1920, he was appointed as the Principal of ‘Kala Bhawan’. Several universities honoured him with
particular titles. In 1961, the Government of India honoured him with embellishment of ‘Padma
Bhushan.’]
Radhika (M.A.R. Chughtai):-

Artist : M.A.R. Chughtai Period : Circa 1940 A.D.
Subject Matter: This painting is based on a typical Indian young girl in standing pose going out of her
room. She is feeling shy. This painting belongs to Hindu religion.
Description: The painting ‘Radhika’ is also drawn in profile. In all his works he has painted Radhika as
delicate and love lorn. Postures have also been made romantic. She is delicately holding two lotuses
in both of her hands. She is wearing a light colour Ghagra, a red color Choli and a yellow colour
Dupatta in typical Indian style. Her braided of black tresses is flowing down her back. Her down-cast
eye is unique in exaggerated arch of eyebrow. Ornaments that Radhika is wearing are impression of
Radhika being delicate, flexible and graceful. There is a lamp with a stand in the left side of the
painting in Mughal manner. The lamp is decorated one with the wick in yellow and red colours, it
presents a realistic image of the lamp. The light of the lamp has illuminated Radhika and has given a
touch of divinity.
The background is painted in a perfect blending of black, red and yellow colours creating a vivid
expanse of bright colours in uniform the tonal gradation.
The brightness illuminated by the burning lamp is yet another remarkable achievement of the artist.
He has also highlighted minute details of the costumes worn by Radhika. Each fold of the drapery has
been created with excellent success. The lotuses that she holds in each hand shows symbolic
representation of a delicacy.
The honey- bee sitting on the lotus of Radhika’s left hand is centrally composed in respect of the
totality of the panting, which symbolizes the presence of Krishna.
[M.A.R. Chughtai (1897-1975 A.D.): Mohammad Abdur Rehman Chughtai was born in Lahore in 1897
A.D. His ancestor had performed an important role in preparing outline of the Mughal period’s world
famous building as the Taj Mahal, the Red Fort and Jama Masjid. Chughtai, by dint of his will-to-
power, had learnt the qualities of the world-standard painting. He felt the European style lifeless and
therefore, he, after coming back to India, learnt Japanese wash technique he tried to develop
romanticism in his paintings. On the one hand, the subject-matter them of his paintings was based on
Hindu mythics. On the other hand, that was based on the poetry of Mirza Galib, Iqbal and Umar
Khaiyyam. He used to exhibit his paintings in London, Paris, Berlin and Philadelphia. Due to that, he
remained getting the occasions of meeting with the world-famous painters and consequently
remained developing into maturity. After the partition of the country, he went and settled in Lahore.]
Meghdoot (Ram Gopal Vijayvargiya):-

Artist : Ram Gopal Vijayvargiya Period : Circa 1940 A.D.
Subject Matter: This painting is based on the relationship between nature and human being which is
along familiarity.
Description: This is one of the paintings of Meghdoot series. With the excellent co-ordination of
colour this painting has been delineated in artistic style .Riding on flying white cottony clouds, with
special rhythmicity, in the blue sky, lovelorn Yaksha and Yakshini have been shown whit real colour-
scheme. Yaksha’s curly hair, in ears earrings made of pearls, a pearl necklace on the throat, excellent
body structure, smile on face, feeling of tenderness in hands and fingers, taking a lotus flower in his
right hand, clothes embellished with the vivid shades of yellow colour and in them (clothes) rhythm
city of various thin-coloured line, all these enchant the mind of the viewer. Yaksha sitting sticking by
his back and her right hand has been shown putting on Yaksha’s chest in such a way as if two lovers
are embraced. Yakshini’s hairs have been shown tied with the white flowered plait or band. On her
throat is a beautiful necklace on pearls. She is covering her breast with a pink-coloured cloth and
below the loin is wearing a lustrous yellow cloth on which have been shown crumps. On her legs smile
lips is seen obviously.
The colour of the sky has been shown blue in upper side and down near the clouds becoming light.
Four white birds have been shown flying in the foreground. This picture composed with the wash and
tempera technique in Bengal style together with the feelings of tenderness is an excellent co-
ordination of charming and pleasing colours.
[Ram Gopal Vijayvargiya: Ram Gopal Vijayvargiya was born at a small village in district Swai
Madhopur in Rajasthan in 1905. He received Art and Craft under the supervision of Shaiendranath
Dey. Ram Gopal Vijayvargiya worked as Principal, Rajasthan School of Arts & Craft Society, Calcutta
(Kolkata) and thereafter many one-man shows in major cities of India. In 1984 the Government of
India honoured him with the title of ‘Padma Shree’. He is also known as a poet and a writer. He had
published ‘Vijayvargiya Picture Album’ in 1934 and ‘Meghdoot Chitravali’ in 1945.]
Contribution of Indian Artists in the struggle for National Freedom Movement:
As the glorious tradition of Indian classical art was about to be wiped the advent of the Muslim rule in
the middle ages, in the same way Indian classical art of Rajasthani, Mughal and Pahari miniature
painting was about to meet the same fate with the establishment of British rule after the mutiny of
1857. The systematic propaganda by scholars like Lord Macaulay, an important member of the British
Government, who drew up the syllabus for Indian schools and framed Indian penal code, and then the
principals of the art and craft school of Bombay, Madras and Lahore and even established painters of
the status of Burn-Jones and Jeshua Reynolds were of the view that India had no worthwhile
traditional fine arts and Indians were incapable of learning it. They did their best to establish the
superiority of Western art and culture over the Indians. The newly English educated young men in
those days around 4850-1900 sneered at anything Indian and learnt to look at the pantheon of Indian
Goddesses as near monsters.
The average Indians whose lives were inextricably connected with artistic painting and floral
decoration as essential part of cultural and religious celebration were totally confused and suffered
from the sense of inferiority in comparison to the Western educated person.
It was at this juncture that a few extraordinarily gifted artists and painters like Raja Ravi Verma,
Abanindranath Tagore, Gaganendranath Tagore, Nandlal Bose, Asit Kumar Haldar, Kshitindranath
Mazumdar, Abdul Rehman Chughtai, Samanendranath Gupta ably assisted by Principal E.B.Havell of
Calcutta Art School came out with their excellent art work to establish once for all, the superiority of
Indian art over rigid lifeless western painting, the British founded schools elsewhere in India like
Bombay, Madras and Lahore were producing. The great artists gave a tremendous moral boost to the
Indian Nationalist movement which started in 1905 against the partition of Bengal.
Indian Society of Oriental Art was established in 1907 with renowned people and art lovers of Bengal.
The society held art exhibition every year.
The caricature entitled ‘Peace declared in the Punjab’- by Gaganendranath made on the massacre of
Jalianwala Bagh in 1921 brought out the barbarous naked cruelty of the British rulers and hardened
the hatred of the Indian people against the British.
Nandalal’s ‘Sati’, ‘The death of Sati’, ‘Ahalya’s release from her curse’, ‘Agnidevata’ won acclaim
throughout India which revived the traditional culture.
All these helped the people regain their national identity and gave a boost to the national ‘Swadeshi’
movement for freedom. Indians lost the sense of rootless alien entity which is the greatest stumbling
block to prosperity and self reliance for a nation, wrote Rabindranath Tagore.
The panels on Indian folk art and Indian life in 1937 for Haripura Congress by Nandalal Bose gave a
great boost to this sense of Indians to the people.
The Modern Trends in Indian Art:
Introduction: Indian art during the period 1900-1925 came to be dominated by the Bengal School but
the revivalists failed to strike any permanency because of the lack of originality. They will be
remembered for their effort to revive the classical Indian tradition based on epic and mythology
through their paintings. But they lacked the social consciousness of the classical times of Indian
history and indifferent to cotemporary Indian values. Abanindranath and Nandlal will be remembered
as pioneer of a movement which failed. The artists after 1925 refused slavish imitation of the
mannerism of the art of the past. They felt that such imitation shackle the imagination of the artists
and not liberate it. Such art remained only and illustrative art unable to express the intensity of the
times.
Gaganendranath though a contemporary, tried cubistic painting influenced by European cubism.
Rabindranath in his painting tried expressionism.
A host of other artists like Nirod Mayumdar, Rathin Maitra, Gopal Ghosh, Paritosh Sen attempted a
change in their outlook on art.
Figurative drawing has been replaced by abstract painting trying to search beauty in formlessness.
Somnath Hore, Jyoti Bhatt, Anupam Sud brought variety in Modern Indian Art by their graphic prints.
Appreciation of the following Contemporary (Modern) Indian Art:
Paintings of Contemporary (Modern) Indian Artist:

Rama Vanquishing the Pride of the Ocean (Raja Ravi Verma):-
Artist : Raja Ravi Verma Period : Circa Late 19th Century
A.D.
Medium : Oil colours on Canvas
Collection : Chitrashala, mysore, Karnataka
Subject Matter: This painting is based on an episode of Valmiki’s Ramayana. After preparing his forces
for invading Lanka to recover Sita, Rama was held up by the sea, and his army was separated from
Lanka. Attempts to build a bridge were failed by the angry ocean. Rama threatened Varuna (The God
of Ocean) that he would destroy him if he didn’t allow the bridge to be built. Only then his forces
could cross the ocean to reach Lanka.
Description: The theme of Rama vanquishing the pride of the ocean has been taken from Valmiki’s
Ramayan, in which Sri Rama has been shown vanquishing the pride of the ocean. In one of the topics
of the Ramayana, Sri Rama, together with his monkey-army, prepares to go to Sri Lanka so that Sita
could be got released from the clutches of Ravana. But the huge ocean has blocked their way. Sri
Rama requests the ocean to give them way but the ocean does not budge even an inch. Sri Rama,
being angered, takes up his bow and warns the ocean to eradicate that.
Raja Ravi Varma’s artist mind gives shape to that moment-Sri Rama has been shown on a rock of the
shore near ocean, in angry mood holding a bow in his left hand and an arrow in right hand. His clothes
give the feeling of blowing the air.
The waves advancing very swiftly from the ocean towards the shore, striking off the rocks seem to be
dispersing like white milk; whereas in middle of the distant waves have been shown three human
figures, in the middle the big shape is of Varuna (The God of Ocean) who has shown lifting both his
hands up requesting Sri Rama not to do so, while two small shapes are of the gods of acquatic
creatures who are frightened and are entreating Sri Rama for forgiveness of their creatures.
In background, a bright flash of lightning has been shown in the middle of the sky. The sky has been
shown with the blend of dark colours. In this painting, the placidity of colours and rhythmicity in
linear delineation is capable to attract attention of anyone. The painting manifests the effect of light
and shadow, the qualities of European style of art.
[Raja Ravi Verma(1848-1906 A.D.): Raja Ravi Verma was born in Kilimanoor Palace as the son of
Umamba Thampuratti and Ezhumavil Neelkandan Bhattathiripad. At the age of seven years he started
drawin on the palace walls using charcoal. In his family, art practice was a way of life. His uncle Raja
Raja Verma painted on ivory. His sister Manglabai was also an acknowledged painter. They noticed
the talent of the child and gave preliminary lessons on painting. At the age of 14, Ayilyam Thirunal
Maharaja took him to Travancore Palace and he was taught water painting by the palace painter
Rama Swamy Naidu. After 3 year Theodor Jenson and Frank Brooks a British painter taught him oil
painting. In 1873 he won the First Prize at the madras Painting Exhibition. He became a world famous
Indian painter after winning in 1873 Vienna Exhibition.]
Mother and Child (Jamini Roy):-

Artist : Jamini Roy Period : Circa 1930 A.D.
Medium : Tempera (Water Colours) on Paper
Subject Matter: This painting depicts a mother holding her child. The subject matter matches totally
with the title of the painting.
Description: This is one of the famous paintings immortalizing motherhood by Jamini Roy. The
painting symbolizes a soothing calm and tranquility common to eastern philosophy. There is no hint
of storm and stress of modern life giving an effect that both the mother and child have found
fulfillment in each other. This gives the painting a quality of timelessness.
Here in this painting the artist has limited himself to the bare unadorned basic line drawing that goes
to the root of painting. He has stripped his work of all superfluous adornment and made the painted
lines of curves and ellipses come alive with a statuesque quality. The contour lines brought out the
figure with clarity and the dip and the swell of the curves trace the figure with the perfect pose. The
molding of the volume of the figure through tonal gradation is sensitive. The large eyes and the oval
face radiate physical coolness and complete peace undisturbed by any stress of modern life. The look
and easy rhythmic contour lines all reveal
a rural simplicity of a mother who finds the fulfillment of life in her son. The figures are arranged in a
single frontal plane and there is no suggestion of a foreground and background.
[Jamini Roy (1887-1972): Jamini Roy was born in April, 1887 in a petty landowning family at Beliatore,
an obscure village in the district of Bankura in West-Bengal. The richness and culture of village life
contributed greatly to the culture development of his later life.
He joined the Calcutta Art School in 1903 where the discipline of formal training helped him to gain
technique and maturity. From 1925 he started painting in the style of the ‘Patuas’ of Kalighat.
His paintings won international fame after exhibition in London in 1946 and the other in New York in
1953. He was a lone traveler and art to him was a mission.]
Haldi Grinders (Amrita Sher Gil):-

Artist : Amrita Sher Gil Period : Circa 1940 A.D.
Medium : Oil colours on Canvas
Subject Matter: This painting is painted with very simplified subject matter, and is filled with weak,
yet commanding the ordinary females with depth, strong sense of dignity and massive power on their
livelihood.
Description: Amrita Sher Gil painted this idyllic rural scene in 1940. The focus of this Amrita’s painting
is intended for a showcase on the burden life of women in India. Her uses of bright, saturated
pigments are particularly marked in the painting.
Here in this painting three women are portrayed in the centre of picture plane with yellow, white and
red saris, placed within the background of nature. A dark black and brown portrayal of a woman
behind the tree, seem to be in rest mood also catch the eyes of the views.
Bright colouring on the dress against blurred and faint brown background with two massive trees
provides an immense stress on the viewers.
Amrita Sher Gil completed this painting with very simplified subject matter, and is filled with weak,
yet commanding the ordinary females with depth, strong sense of dignity and massive power on their
livelihood.
[Amrita Sher Gil (1913-1941): Amrita Sher Gil was born in Budapest, Hungary in January 30, 1913 of a
Hungarian mother and a scholarly Indian father of a Shikh Royal family. The family returned to India
after the 1st World War in 1921. She was educated and as she showed an uncommon talent in art, she
was sent to ‘Ecole nationale’ the famous art school in France. Through her academic training she
acquired a high degree of proficiency in oil.
After spending about six year in Europe, she longed to come back to India. From 1935 onward after
she came back to India till her death at the age of 28, in December 5, 1941, she produced about 40
paintings in oil which are considered as masterly creations of Amrita Sher Gil.]
Mother Teresa (M.F. Hussain):-

Artist : M.F. Hussain Period : Circa 1979 A.D.
Medium : Oil and acrylic colours on Canvas
Subject Matter: This is one of the paintings from Mother Teresa series by the artist. In his own words,
‘She was the modern Madonna, who embraced the poor and the destitute as her own, for me she is a
timeless figure, I will never get tired of painting her.’
Description: M.F.Hussain began the series Mother Teresa in 1979. The paintings are done in different
medium like oil, acrylic etc. The most distinctive feature of those paintings is that, a white Saree with
a blue border is draped around her forehead and flows round her body like the Byzantine draperies in
the Catholic Churches. Husain himself admits that he got the idea of draping Mother Teresa’s head
with white Saree having a blue boarder from the play of light colour from the stained glass paintings
of the Byzantine Churches and Cathedrals he had visited. It defines the outlines of her face and covers
her head but the face is always a featureless dark un-illuminated area on the canvas. The Saree with
the blue border is symbolic uniform of the orphanage and establish her universal motherhood. Her
two hands are shown as holding a baby while her broad expanse of the Saree shelters two other
homeless children sleeping peacefully. The darkened face also suggests the negation of ego that must
be an attribute of this profoundly selfless person It is also indicative of Husain’s deliberate intention
to avoid cheap sentimentality.
The left extended palm is to assure the needy to have no fear while the right palm is so placed as to
hold the orphan firmly to her body.
The painting is an ovation from the painter to the universal motherhood.
[M.F. Hussain (1915-2011 A.D.): Maqbool fida hussain was born at Pandherpur in Madhya Pradesh on
September 17, 1915. He got primary education in Indore. He got admission in J.J. School of Art,
Bombay (now Mumbai), but, struck of adversity, he had to leave that. For livelihood he had to do
painting of the posters relating to cinema. The painting name ‘Sunehare Sansar’ was exhibited by the
Bombay Art Society, Bombay in 1947. After that his works were exhibited in series. To that he got
international fame.
In the beginning, he was inclined to Basohli style of painting s. Therefore, he used to use bright and
glittering contrasted colours in his paintings. The painting series based on the Ramayana and the
Mahabharata are world- famous.
M.F. Hussain expessed violence, injustice anddejection in his many paintings. In ‘Mother Teresa’ he
has revealed love, hope and pity; whereas the series based on the British regime expresses sarcastic
knowledge.
He made some famous pictures based on the Gulf War, as-The Theatre of the absurd and splash front
page etc.
The effect of European painters like Picasso, Juan Gris and layer is seen in Hussain’s paintings. In this
way Hussain is not related to single style. Though his style is contemporary, yet his art is deeply rooted
with the past.
Nevertheless, the themes or thought and the style are contemporary and modern; in which originality
glimpses obviously.
For his works, the Government of India honoured him with Padma Shree, Padma Bhushan and Padma
Vibhushan. Mysore University and Banaras. Hindu University, Banaras honoured him with the degree
of D.Litt. (Doctor of Literature).]
Graphic-Prints of Contemporary (Modern) Indian Artists:

Children (Somnath Hore):-
Artist : Somnath Hore Period : Circa 1955-1970 A.D.
Medium : Etching and Aquatint on Copper Plate
Subject Matter: The print is a visualization of the artist’s emotional response to the pain and suffering
of the poor and deprived – the wounded humanity. It is about the physical suffering of the victimized
and the wounded, with no hope of rescue in this world, or the other.
Description: Children an etching with aquatint in black and white is a representational work by
Somnath Hore symbolizing his lifelong protest against the injustice meted out of the meek, humble
and innocent poor people of the society by the rich and the powerful ruling-class. Be it a famine or
communal riot or war, they are the first to suffer and die miserably in thousands.
The composition ‘Children’ is a powerful protest and the expression of the anguish the artist suffered.
It is a close- knit composition of five standing figures, all victims of starvation. To indicate their total
isolation, there is no background, perspective surrounding, as if they are abandoned by society.
The etching shows three emaciated children with bloated stomach and thin triangular rib cages, large
heads and small faces with protruding eyes. Their mother is standing behind them as if protecting
them. Another girl child equally emaciated is standing in front of them. The deeply etched ribs and
cheek bones appear as deep gashing wounds. The aquatint resorted to is not for any Chiaroscurist
effect, but for filling the space.
[Somnath Hore (1921-2006): Somnath Hore was born at Chittagong, (now in Bangladesh). He was a
self-trained, talented artist of modern India. In his artworks is seen clear delineation of crimes against
humanity and the circumstances produced by them, and agonies happened during the Bengal’s
Terrible Famine 1943, Indo-Pak War 1971 and Vietnam War 1975.
Somnath, through his will-to-power, has got speciality in Chineese wood painting, Linocut, multi-
coloured wood engraving and Intaglio graphic techniques. He served as a professor in Govt. College
of Art and Draftsmanship, Calcutta (Kolkata) from 1954-1958. He was the in-charge of the Graphic
Section of Delhi College of Art and visiting professor of the M.S. University, Baroda and Vishva Bharati,
Shanti Niketan later on head of the graphic art department of Kala Bhawan, Vishva Bharati, Shanti
Niketan. In his works the pain that he felt throughout his whole life has come out.
His famous works are– Birth of a Rose, Dream, Standing Girl in Grief, Refugee, Unclad Beggar Family,
and Children. For his achievement of art, he was given several national awards.]
Devi (Jyoti Bhatt):-

Artist : Jyoti Bhatt Period : Circa 1965-1970 A.D.
Medium : Etching on Brass
Subject Matter: This etching shows Devi as a power of worship and the hidden power of Kundalini.
The Yoga Upanishads describe that Kundalini is lying coiled at the base of our spine, represented as
either a goddess or a sleeping serpent waiting to be awakened.
Description: Devi illustrates the idea of fertility and power worshipped as Shakti or Devi in the Tantrik
cult. This power lies as Kundalini, a serpent in the female forms, at the base of the spine both in male
and female. Through yoga, mantras and deep meditation, this power can be made to rise through the
spine to the brain where the male power of Shiva resides. Once these two powers join, a person can
achieve immense power over the eight kinds of divine yogic ‘Siddhas’.
Jyoti Bhatt beautifully pasteurized this concept through his etching. He envisages the form of
Kundalini encircling the female fertility power in the form of a young lady in the lower section of the
print.
But he has slightly departed from the original concept of male power residing in the brain and has
placed this power within the fold of the Kundalini in the heart Devi Shakti.
This deviation from the Tantrik concept may have originated from the words “pseudo Tantrik
Kundalini”- printed on the decorative pendant on the right of Devi’s head.
This may be interpreted as fake pretending Tantriks luring people with such novelty to exact money
for the personal benefit and cheat the society with their pretension.
The deep intaglio etching in black provides an artistic texture to the serpentine form. Shades of green
have been used artistically in the decorative pendants on each side of Devi’s head. A brilliant Bindi
ornate the forehead of Devi whose open large eyes resembled the Durga images from Bengal.
[Jyoti Bhatt or Jyotindra Manshankar Bhatt: Jyoti Bhatt was born at Bhavnagar, Gujarat on 12th
March, 1934. He, having taken diploma in Fine Art and postgraduate degree from M.S. University,
Baroda, got fame as a successful graphic printer and famous photographer. He was very much
impressed with Picasso and Ben Nicholson. The specialization in printing of attractive constructions by
Intaglio Technique, got him not only fame but also honoured with some awards and national awards.
The excellence of his graphic work is seen in ‘Devi.]
Of Walls (Anupam Sud):-
Artist : Anupam Sud Period : Circa 1982 A.D.
Medium : Lithograph
Subject Matter: This painting is a journey of the artist down her memory lane – of childhood. The
subject is unconsciously lost in the mystery of time, with nothing in particular but a gliding image that
has found place in her creation. This work is often interpreted as a representation of poverty and
loneliness. However, for the artist it is more of a personal moment.
Description: ‘Of Walls’ a graphic print in lithograph by Anupam Sud which is a mixture of
photographic images with drown areas to bring together the subject with objective reality to contrast
the unfeeling background with pulsating lively human forms.
In this painting a young lady sits in state wearing the traditional dress of a widow. There is a brick wall
shown beyond her on which pictures lively activities are faintly dawned to remind the viewers once
she was a part of these lively activities till the wall was erected to segregate (isolate) her from social
life of meaningful activities. Her black face indicate that she has become a non-entity, part of legs
lying before her possibly of her head husband with whose death she has also died for the society. The
print is a powerfully protests by the artist against society erecting such walls on the basis of caste,
religion and status.
[Anupam Sood (born in 1944): Anupam Sood was born in Hoshiyarpur, Punjab, in 1944. He having
taken diploma from Delhi, learnt the art of painting .He did many experiments in several modes of
Intaglio; such as etching, dry-point, aquaint with silk- screen, mezzotint in lithography. His coloured
Intaglio paint ‘Autumn’ is such a work in which the feeling of anxiety are terrific on her face. Among
his works, repleted with emotions and countenances, the very important ones are ‘Adam and Eve, and
‘Purush and Prakriti’. Based on photomechanical processes, their prints have been given in Dialogue
Series. For his meritorious contribution in the field of art, he received a strip of gold as reward from the
President of India in 1975. For art, he is active in Delhi even today.]
Man, Woman and Tree (K. Laxma Goud):-

Artist : K. Laxma Goud Period : Circa 1980-1990 A.D.
Medium : Lithograph
Subject Matter: It is a depiction of village life basing on artist’s childhood memories of rural tribal
liveliness. A native of an Andhra village, the artist has presented a rustic version of a man, a woman
and a tree.
Description: ‘Man, Woman and Tree’ is one of the best known graphic prints of K. Laxma Goud. The
painting shows a female figure, is centrally composed with the grove of trees and shrubs on her left
and on her right a male figure under a grove merges with trees and the lower portion of his body
surrounded by a growth of scrubs. The male and female figures are facing each other and there is a
smile in the tree sprit’s face. The painter has drawn an Indian version of the Greek wood nymphs;
both male and female are meeting together.
It’s a continuation of the philosophical thought of Laxma Goud that in nature, man, women, trees and
animals are in a continuums process.
[K. Laxma Goud: He was born on August 21, 1940 at Nizampur, in Andhra Pradesh. He is one of the
graphic painters of modern India. He having taken diploma from Government College of Art and
Architecture, Hyderabad, got diploma from M.S. University, Baroda. For some time he taught
Performing Art and Fine Art at Hyderabad University. Through the medium of his art work, he has
been exposing the message of ever continued co-relationship among culture, human, animals, birds
and vegetation, which is naturally continuing among them since centuries and will be continued in
future, too.]
Sculptures of Contemporary (Modern) Indian Artists:

Triumph of Labour (D.P. Roychowdhury):-
Artist : D.P. Roychowdhury Period : Circa 1954 A.D.
Medium : Bronze and Cement
Subject Matter: The monument is symbolic of human spirit that wins over hardships with united
labour. It is a brilliant study of four human figures with ripping muscles, their personal moment of
intense physical effort, captured for the world to see and appreciate their daily sweat and labour for
livelihood. The sculpture is the focal point of May Day celebrations as the first one was celebrated
here.
Description: ‘Triumph of Labour’ would ever an unparalleled example of sculpture. The four figures in
the group engaged in the formidable task of moving a massive rock with the help of wooden logs are
perfect anatomical studies of men engaged in a herculean task requiring maximum physical effort.
They are muscular laborers scantily clad in lion-cloth covering their heads as protection against the
heat of the summer sun.
The straining semi nude figures reveal these news and muscles of their magnificent bodies win
universal acclaim. The labour they put in is symbolical of the progress of man. The sculptor has put in
a masterly fashion, the difficult reverse movement which is a unique feature of the sculpture. The
sculpture shows a rare quality of dynamic mobility.
Deviprasad was greatly influenced by the French master sculptor August Rene Rodin.
[Devi Prasad Roychowdhury (1899-1955): Born in 1899 in Rangpur now in Bangladesh,

D.P.Roychowdhury is one of the most talented and multifaceted Artists, India ever produced.
He started learning drawing from Abanindranath Tagore and as his disciple he started painting in
water colour both in tempera and wash on mythological subjects. His painting ‘Green and Gold’ in
water colour was shown in London Exhibition. ‘Nirvana’ in oil, ‘Bridge’ in pastel, ‘Durgapuja
procession’ in oil, are some of his great paintings.
After 1953, he was president and director of Lalit Kala Academy, Director of UNESCO Art Seminar in
Tokyo, received honorary D. Litt. of Ravindra Bharti University, Kolkata and awarded ‘Padmabhushan’
by Govt. of India.]
Santhal family (Ramkinker Vaij):-

Artist : Ramkinker Vaij Period : Circa 1938 A.D.
Medium : Cement and Concrete
Collection : Vishwa Bharati, Kala Bhavan Campus, Shanti Niketan, West Bengal
Subject Matter: Santhal Family is a free-standing out-door sculpture. It is a depiction of a tribal

peasant family- a man, a woman, children and a dog.
Description: ‘Santhal family’ is a complex composition with two figures standing side by side, a dog, a
child sitting in a basket hanging from a pole. The woman is walking beside the man. She has a load on
her head. A dog accompanies the man. It is an entire family in migration. It symbolizes labour
migration. This is a harsh real picture of a family forced to leave their land by hunger.
The sculpture follows no set style but the style of the rough textured land of gravel and red clay of
Shantiniketan. The road side composition carries the dynamism of the road.
Ramkinker’s sculptures reflect his concern and feeling for the life of that the life of that simple people
around him. None of his outdoor sculptures are placed on pedestal to establish their close earthy
connections.
[Ramkinker Vaij (1910-1980): Ramkinker Vaij is a rare example of an artist who rose to greatness by
sheer willforce and dedication. He was born in 1910 in a poor family of barbers in the outskirts of
Bankura, West Bengal. The family could not spare money for his papers, or paints or his teaching. He
had to pilper spices like turmeric from his mother’s kitchen and vermilion from their toiletry to paint
pictures. He had no training what so ever from any, yet.
To learn clay modeling, he and two other friends pilfered the local crematorium to find skeletons for
learning anatomy. His creative urge was so great that when he couldn’t find more to buy Plaster of
Paris or other
materials, he used red gravel, sand and cement for his famous outdoor sculptures like ‘Santhal
Family’, ‘Sujata’, ‘Harvester’ which were cast directly on the road side around Kala Bhawan.]
Cries Un-heard (Amarnath Sehgal):-

Artist : Amarnath Sehgal Period : Circa 1958 A.D.
Medium : Bronze
Subject Matter: Contemporary-socio-economic ills that plague India. Theme of much of Sehgal’s
works primary revolved around the importance in individual freedom and human dignity, and his
response to the horrors of political violence.
Description: The Widely known bronze casting entitled ‘Cries Un-heard’ by Amarnath Sehgal won him
the presidents golden plaque award in 1958.
It is a symbolic creation of family of three figures, the parents and their child expressing, deep anguish
of the sculptor at the injustice prevalent in society. The tall elongated figure with hollow distorted
faces and hands raised towards the sky are shooting to the world how through the ages they have
been victims of political and social injustice with no one to hear to their protest. The masks like faces
of the victim seem to suggest they have been suffering in permittivity at the hands of unjust people in
society, who have been exploiting them.
Seghal believes that it is the responsibility of the artist to make the cries downtrodden and victimized
people heard by society. The distortion of the figure presents the social evil and the distorted view of
society which has become immune the human misery. The lifelong exploitation have made them
hollow.
[Amarnath Sehgal: Amarnath Sehgal was born at Ampbelpur of distict Atok in Pakistan in 1922 A.D.
After Indo-Pak partition, he came to India. In 1950 A.D., he got master’s degree in art from New York
University. He taught in Mordern School in Delhi. He is known as a philosopher, poet, sculptor and
artist. His other creation are – Auguished cries (bronze), floating cries (poem) and Abyss of life.]
Ganesha (P.V. Jankiram):-
Artist : P.V. Jankiram Period : Circa 1970-1980 A.D.
Medium : Oxidised Copper, Wires and Tint
Subject Matter: A modern/abstract sculpture of the Hindu God Ganesha.
Description: Aesthetically P.V. Jankiram’s ‘Ganesha’ in oxidized copper preserved in the N.G.M.A. is
one of the finest creations of the sculpture. It’s an example of ‘Repousse’ work consisted of
hammering concave surfaces into the metal to serve the style. It has been termed as frontal sculpture
or two dimensional sculptures.
The six handed dancing figure of Ganesha using the lower two hands to hold the Veena and playing it,
while four other holds the traditional Shankha-Chakra-Gada pdma to bear the look of deity in
incarnation. The sculpture shows some unique feature of plasticity of form, frontality, continuity and
smoothness of surface and exquisite ornamentation as there is a conscious effort to revive the folk art
of the south. The placing of the Sankha-Chakra and Gada helps the sculptor move closure to the
original of the traditional imagery. The form is not static but gives a hint of movement in his dancing
posture.
[P.V. Janakiram: P.V Janakiram was born in Madras (Chennai) in 1930 A.D. He got degrees in Fine Art,
Sculpture and Vocational Art from Art College, Madras. Bhagat’s idols express mystic principles. The
main speciality of them is the idols are standing facing towards one another and they have been
ornamented with copper and thin wires of copper. Among his leading idols are –Krishna, Garuda,
Ganesha, and Christ; other creation are-Madona and Chid and Flute Player.]
*******
Board Questions (2009-2010)
1. Describe the origin and development of the Mughal or Deccan School Miniature Painting.
2. Which one you like or dislike among the following art-works of the Contemporary (Modern) Indian Art?
Give your appropriate reasons in detail in the light of the capability of its artist in handling the medium &
technique, depiction of the subject-matter and the way of composition :
(i) Mother Teresa (a painting done by M.F. Hussain)

(ii) Man, Woman and Tree (a graphic-print done by K. Laxma Goud)
(iii) Chatturmukhi (a sculpture done by Aekka Yada Giri Rao)
3. Write a short note on any one of the following with special reference to the paintings included in your
course of study :
(a) The tradition of simple and straightforward compositions in the Rajasthani Miniature Paintings, in
which main figures stand out against a flat background in dark or bright colours.
(b) The tendency to show high horizon in the Basohli miniature paintings.
4. How far has the painter been successful in depicting the subject-matter of any one of the following
miniature paintings?
(a) Marriage Procession of Dara Shikoh (Mughal School)
(b) Chand Bibi Playing Polo (Chaugan) (Deccan School)
5. Mention the name of the artist of each of the following art-works of the Contemporary (Modern) Indian
Art, included in your course of study :
(i) Gossip (a painting)
(ii) Devi (a graphic-print)
(iii) Of Walls (a graphic-print)
(iv) Ganesha (a sculpture)
(v) Cries Unheard (a sculpture)
6. Mention the titles of any three Rajsthani Miniature Paintings, which are included in your course of study.
*******
1. Describe the origin and development of Rajasthani or Pahari School of Miniature Painting.
2. Appreciate any of the following miniature painting, based on its (a) Name of the artist/sub-school, (b)
Medium & technique, (c) Subject-matter and (d) Composition :
(i) Krishna Lifting Mount Govardhana (Mughal School)
(ii) Chand Bibi Playing Polo (Chaugan) (Deccan School)
3. How far has its painter been successful in depicting the subject-matter of any of the paintings of the
Bengal School included in your course of study? Submit your reasons on the basis of the aesthetical
parameters.
4. Give appropriate reasons as to why do you like or dislike the Contemporary (Modern) Indian Sculptures.
5. Write a note on the compositional arrangements in the Rajasthani or Pahari Miniature Paintings.
6. (a) Mention the name of the painter of each of the following mughal miniatures:
(i) Falcon on a Bird-Rest
(ii) Jahangir holding the Picture of Madona
(iii) Babar crossing the River Sone
(b) Mention the name of the Sub-School of each of the following Deccani miniatures:
(i) Dancers
(ii) Chand Bibi Playing Polo (Chaugan)
7. What symbolizes each of the following, used in our National Flag?

(i) India Saffron
(ii) White
(iii) India Green
(iv) Ashoka wheel
(v) 24 spokes in Ashoka wheel
8. Mention the name of the artist of each of the following art-works of the Contemporary (Modern) Indian
Art, included in your course of study :
(i) Untitled (a painting)
(ii) Figure (a sculpture)
(iii) Birth of Poetry (a painting)
(iv) Whirlpool (a graphic-print)
(v) Man, Woman and Tree (a graphic-print)
*******
1. Describe the main features of the Rajasthani or Pahari School of Minature Painting.
2. Appreciate any Mughal or Deccani miniature painting included in your course of study, based on its (a)
Name of the Artist/Sub-school, (b) Medium & technique, (c) Subject-matter and (d) Composition.
3. How did the Indian painters and sculptors contribute to the National Freedom Movement?
4. Why do you like or dislike the contemporary (Modern) Indian painting/graphic-prints/sculptures? Justify
your answer with proper reasons.
5. Write a note on any of the following with special reference to the painting(s) included in your course of
study :
(a) The tendency of composing crowded scenes involving too many forms and figures in the Mughal
miniature paintings.
(b) The representation of the landscapic background with typical Deccani hills in the Deccani miniature
paintings.
6. Mention the titles of any five miniature painting of the Rajasthani and Pahari Schools included in your
course of study, which you like most.
7. Mention the name of the painter of each of the following Indian paintings included in your course of
study:
(i) Radhika
(ii) Journey’s End
(iii) Rama Vanquishing the Pride of the Ocean
(iv) Parthasarthi
8. Mention the names of any two graphic-artists, two sculptors and a painter of the Contemporary
(Modern) Indian Art, included in your course of study.
*******
1. Appreciate any one Rajasthani or Pahari miniature painting included in your course of study, based on
the following points :
(a) Title and name of the painter
(b) Medium and technique
(c) Subject-matter
(d) Composition
2. Why do you like or dislike the paintings of the Mughal or Deccan School of Miniature Painting included in
your course of study? Justify your answer in detail with suitable examples.
3. Write a critical note on the compositional-arrangement of any one of the following paintings based on
the aesthetical parameters :
(a) Rama Vanquishing the Pride of Ocean (Done by Raja Ravi Verma)
(b) Journey’s End (Done by Abanindranath Tagore)
4. Evaluate the artistic achievements of any one of the contemporary (Modern) Indian artist, with special
reference to his art-work included in your course of study :
(a) M.F.Husain (Painter)
(b) Jyoti Bhatt (Graphic-artist)
(c) D.P.Roychowdhary (Sculptor)
5. How far has the painter been successful in depicting the subject-matter of any one of the following
paintings? Give your appropriate reasons based on the aesthetical parameters :
(a) Radha (Bani-Thani) (Rajasthani School)
(b) Nand, Yashoda and Krishna with kinsmen going to Vrindavan (Pahari School)
6. Mention the titles of any five miniature paintings of the Mughal and Deccan School included in your
course of study.
7. What symbolizes each of the following, used in our National Flag?

(a) India Saffron Colour
(b) White Colour
(c) India Green Colour
(d) Ashokan-wheel
(e) 24 spokes in Ashokan-wheel
8. Mention the titles of any three paintings, a graphic-print and a sculpture of the Contemporary (Modern)
Indian Art included in your course of study.
*******
1. Write an essay on the origin and development of the Pahari School of Miniature Painting.
2. Appreciate the famous miniature painting of the Deccan School, ‘Chand Bibi Playing Polo (Chaugan)’ or
‘Ragini Pathamsika’ based on its (a) Name of the painter and sub school, (b) Medium and technique, (c)
Subject-matter and (d) Composition.
3. Which high values of human life are incorporated in the Indian National Flag, which are expressed
through its forms and colours? What inspiration do you get from seeing our National Flag?
4. Why do you like or dislike the Contemporary (Modern) Indian paintings included in your course of study?
Justify your answer in short, with suitable examples.
5. How far has the painter been successful in depicting the subject-matter of any of the following paintings
of the Rajasthani School of Miniature Painting? Give your appropriate reasons based on the aesthetical
parameters :
(a) Maru-Ragini (Mewar Sub-School)
(b) Chaugan Players (Jodhpur Sub- School)
6. Mention the names of any five painters of the Mughal School of Miniature Painting included in your
course of study.
7. Mention the names of any five famous painters and sculptor who contributed to the National Freedom
Movement, and who are important in your view.
8. Mention the name of the artist of each of the following art works of the Contemporary (Modern) Indian
Art included in your course of study:
(a) Whirlpool (a graphic print)
(b) Ganesha (a sculpture)
(c) Mother and Child (a painting)
(d) Untitled (a painting)
(e) Mother Teresa (a painting)
*******
1. Appreciate any Contemporary (Modern) Indian painting included in your course of study, based on the
following points :
(a) Title and name of the painter
(b) Medium & technique
(c) Subject-matter
(d) Composition
2. Why do you like or dislike the paintings of the Mughal or Deccan School of Miniature Painting included in
your course of study? Justify your answer in detail with suitable examples.
3. Write an observation-note on any of the following with special reference to the painting(s) of the Bengal
School included in your course of study :
(a) The creation of mystic and mellow style by using gloomy colouring with diffused light background
and absence of any dark line or tone, which provide the experience of the astral-world.
(b) The delineation of attenuated human figures with extra elongated limbs and tapering fingers, which
reflect the experience of the Rajasthani, Pahari and Mughal miniatures. Hence emphasis on
European realism is terminated.
4. Which human life values are shown in any of the following art-works of the Contemporary (Modern)
Indian Art? Explain in short:
(a) Santhal Family (a sculpture)
(b) Mother Teresa (a painting)
(c) Children (a graphic-print)
5. How far has the painter been successful in depicting the subject-matter of any of the following miniature
paintings? Give your appropriate reasons based on the aesthetic parameters :
(a) Maru-Ragini (Rajasthani School)
(b) Krishna with Gopis (Pahari School)
6. Mention the titles of any five miniature paintings of the Pahari and Rajasthani Schools included in your
course of study.
7. Mention the names of five painters of the Bengal School included in your course of study.
8. (a) Mention the titles of any three miniature paintings of the Mughal School included in your course
of study.
(b) Mention the names of any two sub-schools of the Deccan School of Miniature
Painting included in your course of study.
*******
1. Appreciate any Mughal or Deccani miniature painting included in your course of study duly based on the
following points :
(a) Title and name of the painter/sub-school
(b) Medium & technique
(c) Subject-matter
(d) Composition
2. Write an essay on the evolution of the Indian National Flag and the symbolic significance of forms and
colours used in it.
3. Which human life-values are expressed in the painting ‘Mother and Child’ done by famous contemporary
(Modern) Indian painter Jamini Roy ? Explain in short.
4. Evaluate the artistic achievements of any of the following painters with reference to his particular
painting included in your course of study :
(a) Nihalchand [Rajasthani School (Kishangarh)]
(b) Nainsukh [Pahari School (Kangra)]
5. On the basis of the following features, identify any relevant miniature-painting included in your course of
study and explain them in that particular painting accordingly :
(a) The Mughal School of Miniature Painting was secular, in which Hindu Gods-Goddesses and saints
were also depicted.
OR
(b) The tall and slender female figures were rendered with fine and rhythmic line in the Deccan School of
Miniature Painting.
6. Mention the names of five painters of the Bengal School included in your course of study.
7. Mention the name of the artist of each of the Contemporary (Modern) Indian art-works included in your
course of study :
8. Mention the names of any three sub-schools of the Rajasthani School of Miniature Painting and two of
the Pahari School of Miniature Painting, which are important in your view.
*******
1. Write an essay on the origin and development of the Mughal or Deccan School of Miniature Painting.
2. Appreciate any of the paintings of the Bengal School included in your course of study duly based on its
(a) Name of the painter, (b) Medium & technique, (c) Subject-matter and (d) Composition.
3. Why do you like or dislike the Contemporary (Modern) Indian paintings included in your course of study?
Justify your answer in short, with suitable examples.
4. Which human life-values are expressed in any of the following miniature-painting? Explain in short :
(a) Bharat Meets Rama at Chitrakuta (Rajasthani School)
(b) Nand, Yashoda and Krishna with Kinsmen Going to Vrindavana (Pahari School)
5. Identify any relevant painting included in your course of study comprising of the following features and
explain them in that painting accordingly :
miniature-paintings.
Or
(b) The representation of the landscapic background with typical Deccani hills in the Daccani miniature-
paintings.
6. Mention the titles of the five paintings of the Bengal School included in your course of study.
7. Mention the title of the art-work done by each of the following contemporary (modern) Indian artists,
which is included in your course of study :
(1) Gaganendranath Tagore (Painter)
(2) Amrita Sher Gil (Painter)
(3) Raja Ravi Verma (Painter)
(4) Somnath Hore (Graphic-artist)
(5) D.P.Roychowdhury (Sculptor)
8. Mention the name of the sub-school of each of the following miniature-paintings included in your course
of study :
(1) Maru-Ragini (Rajasthani School)
(2) Raja Anirudha Singh Hara (Rajasthani School)
(3) Chaugan Players (Rajasthani School)
(4) Krishna with Gopis (Pahari School)
(5) Radha and Krishna Looking into the Mirror (Pahari School)
*******
1. Why do you like or dislike the paintings of the Mughal or Deccani School of Miniature Painting included
in your course of study? Justify your answer in detail with suitable examples.
2. How did the Indian painters and sculptors contribute to the National Freedom Movement? Describe in
detail with appropriate examples.
3. Which human life-values and emotions are shown in any of the following art-works of the Contemporary
(Modern) Indian Art? Explain in short:
(a) Mother and Child (a painting)
OR
(b) Children (a graphic-print)
OR
(c) Cries Un-heard (a sculpture)
4. Evaluate the aesthetic-grandeur of any of the following miniature paintings duly based on the aesthetic-
parameters :
(a) Radha (Bani-Thani) (Rajasthani School)
OR
(b) Krishna with Gopis (Pahari School)
(a) The Mughal School of Miniature Painting was secular, in which Hindu Gods-Goddesses and Saints
were also depicted.
OR
(b) The tall and slender female figures were rendered with fine and rhythmic lines in the Daccani School
of Miniature Painting.
6. Mention the title of the painting done by each of the following painters of the Bengal School included in
your course of study :
(a) Abanindranath Tagore
(b) Nandlal Bose
(c) Kshitindranath Majumdar
(d) Sardacharan Ukil
(e) Ramgopal Vijaivargiya
7. Mention the names of any three painters, a graphic-artist and a sculptor of the Contemporary (Modern)
Indian Art included in your course of study, who are important in your view.
8. Mention the names of any three painters of the Rajasthani School of Miniature Painting and any two of
the Pahari School of Miniature Painting included in your course of study.
*******
1. Describe the evolution of the Indian National Flag and the symbolic significance of forms and colours
used in its present form.
2. Appreciate any of the following miniature-paintings included in your course of study, duly based on its (i)
Name of the Artist/Sub-school, (ii) Medium & technique, (iii) Subject-matter and (iv) Composition :
(a) Krishna Lifting Mount Govardana (Mughal School)
OR
(b) Hazrat Nizamuddin Auliya and Amir Khusro (Deccani School)
3. Which are the human life-values and emotions shown in any of the following art works of Contemporary
(Modern) Indian Art ? Explain briefly :
(a) The Vulture (a painting done by Kamlesh Dutt Pande)
OR
(b) Off Walls (a graphic-print done by Anupam Sud)
OR
(c) Chatturmukhi (a sculpture done by Aekka Yada Giri Rao)
4. Evaluate the aesthetic-grandeur of any of the following miniature paintings duly based on the aesthetic-
parameters :
(a) Maru-Ragini (Rajasthani School)
OR
(b) Cosmic Dance of Shiva (Pahari School)
miniature-paintings.
OR
(b) The representation of the landscapic background with typical Deccani hills in the Daccani miniature-
paintings.
6. Mention the name of the artist of each of the following paitings of the Bengal School included in your
course of study:
(a) Journey’s End
(b) Shiva and Sati
(c) Meghdoot
(d) Arjuna Detach from War
(e) Radhika
7. Mention the titles of any three paintings, a graphic-print and a sculpture of the Contemporary (Modern)
Indian Art included in your course of study (except those mentioned in question no. 3).
8. Mention the names of any three sub-schools of the Rajasthani School of Miniature Painting and two of
the Pahari School of Miniature Painting included in your course of study, which you like the most.
*******
General Instructions : All the five sections are compulsory. Marks are indicated against each Section.
SECTION A 1x6=6
Instructions : Write answers for all the six parts of the given question by selecting the correct one from the
given options.
1. (i) Mention the name of a painter of the Rajasthani School of Miniature Painting included in your course
of study :
(A) Guman
(B) Sahib Ram
(C) Ramdas
(D) Bichitra
(ii) Mention the title of the Miniature Painting of the Mewar Sub-School of the RajasthaniSchool that is
included in your course of study :
(A) Chaugan Players
(B) Radha (Bani-Thani)
(C) Maru-Ragini
(D) Radhika
(iii) Where did the Mughal School of Miniature Painting originate ?

(A) Tabriz
(B) Delhi
(C) Agra
(D) Heart
(iv) In which colour-medium are the Deccan Miniature-Paintings made ?

(A) Pastel-colours
(B) Water-colours
(C) Oil-colours
(D) Acrylic-colours
(v) What is symbolized by the ‘White Colour’ used in the Indian National Flag ?
(A) Power
(B) Knowledge
(C) A particular religion
(D) Truth and Peace
(vi) Who was the pioneer painter of the Bengal School of Painting ?
(A) Gaganendranath Tagore
(B) E.B.Havell
(C) Anand Kentish Coomaraswamy
(D) Abanindranath Tagore
SECTION B 2x3=6
Instructions : Write answers for each of the three parts of the given question in about 30 words.
2. Briefly evaluate the composition-arrangement of any of the following artworks included in your course
of study, from each part, duly based on the aesthetic-parameters :
(a) Bharat meets Rama at Chitrakuta (A miniature-painting of Rajasthani School)
OR
Nand, Yashoda and Krishna with Kinsmen going to Vrindavana (A miniature-painting of the Pahari
School)
(b) Krishna Lifting Mount Govardhana (A miniature-painting of the Mughal School)

OR
Chand Bibi Playing Polo (Chaugan) (A miniature-painting of the Deccan School)
(c) Meghdoot (A painting of the Bengal School)

OR
The Vulture (A contemporary [Modern] Indian painting)
OR
Of Walls (A contemporary [Modern] Graphic-print)
OR
Cries Un-heard (A contemporary [Modern] Indian sculpture)
SECTION C 3x2=6
Instructions : Write answers for each of the two parts of the given question in about 100 words.
3. Why do you like or dislike any of the following miniature-paintings from each part ? Justify you answer
with appropriate reasons duly based on the aesthetic-parameters :
(a) Marriage Procession of Dara Shikoh (Mughal School)
OR
Falcon on a Bird-rest (Mughal School)
(b) Hazrat Nizamuddin Auliya and Amir Khusro (Deccan School)

OR
Ragini Pattahansika (Deccan School)
SECTION D 6x1=6
Instructions : Write the answer for the given question in about 200 words.
4. Identify any relrvant contemporary (modern) Indian artworks included in your course of study,
comprising the following features and explain them in that particular artwork accordingly :
(a) In the paintings of Jamini Roy the single frontal plane, glowing colour, floeing curves and bold strips
of defferent colours, are indicative of him becoming influenced from folk art.
OR
(b) The human-anatomy is manifested with perfection in the sculpture of D.P.Roy Chowdhury.
OR
(c) The graphic-prints of K. Luxma Goud express human emotions and deep attachment with nature.
SECTION E 6x1=6
Instructions : Write the answer for the given question in about 200 words.
5. Appreciate any of the following miniature-paintings included in your course of study, duly based on its (i)
Name of the painter, (ii) Medium & technique, (iii) Subject matter and (iv) Composition :
(a) Chaugan Players (Rajasthani school)
OR
(b) Krishna with Gopis (Pahari school)
*******

Maths Class 12

Uploaded by

Document Informationclick to expand document information

Copyright:

Available Formats

Maths Class 12

Uploaded by

Document Information

Original Description:

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Maths Class 12

Uploaded by

Copyright:

Available Formats

(2022-2023)

The Rajasthani School of Miniature Painting

Origin and Development:-

The Rajasthani Paintings:

Subject Matter: Maru-Ragini is a vertical painting from Ragamala series.

Chaugan Players (Dana):-

Krishna on Swing (Nuruddin):-

Radha [Bani-Thani] (Nihalchand):-

Bharat meets Rama at Chitrakuta (Guman):-

Origin and Development:-

The Main Characteristics or features of Pahari School of Miniature Painting :

The Pahari paintings:

Krishna with Gopis (Manaku):-

Nand, Yashoda and Krishna with Kinsmen going to Vrindavana (Nainsukh):-

Origin and Development:-

The Main features of Mughal School of Miniature Painting :

The Mughal Paintings:

Krishna lifting mount Govardhana (Miskin): -

Falcon on a Bird-Rest (Ustad Mansoor):-

Kabir and Raidas (Ustad Faquirullah Khan):-

Marriage Procession of Dara Shikoh (Haji Madani):-

The Deccan School of Miniature Painting

Origin and Development:-

The Deccan Paintings:

Hazrat Nizamuddin Auliya and Amir Khusro:-

Chand Bibi Playing Polo:-

The significances of the colours are as follows: -

Origin and Development:-

Appreciation of the following paintings of the Bengal school:

Journy’s End (Abanindranath Tagore):-

Shiva and Sati (Nandlal Bose):-

Radhika (M.A.R. Chughtai):-

Meghdoot (Ram Gopal Vijayvargiya):-

Contribution of Indian Artists in the struggle for National Freedom Movement:

Appreciation of the following Contemporary (Modern) Indian Art:

Paintings of Contemporary (Modern) Indian Artist:

Mother and Child (Jamini Roy):-

Haldi Grinders (Amrita Sher Gil):-

Mother Teresa (M.F. Hussain):-

Graphic-Prints of Contemporary (Modern) Indian Artists:

Devi (Jyoti Bhatt):-

Man, Woman and Tree (K. Laxma Goud):-

Sculptures of Contemporary (Modern) Indian Artists:

[Devi Prasad Roychowdhury (1899-1955): Born in 1899 in Rangpur now in Bangladesh,

Santhal family (Ramkinker Vaij):-

Subject Matter: Santhal Family is a free-standing out-door sculpture. It is a depiction of a tribal

Cries Un-heard (Amarnath Sehgal):-

(i) Mother Teresa (a painting done by M.F. Hussain)

7. What symbolizes each of the following, used in our National Flag?

7. What symbolizes each of the following, used in our National Flag?

(iii) Where did the Mughal School of Miniature Painting originate ?

(iv) In which colour-medium are the Deccan Miniature-Paintings made ?

(b) Krishna Lifting Mount Govardhana (A miniature-painting of the Mughal School)

(c) Meghdoot (A painting of the Bengal School)

(b) Hazrat Nizamuddin Auliya and Amir Khusro (Deccan School)

You might also like