Miniature Painting
Content is one of the most significant parts of the art of painting, while sublimation of that content through fine artwork is of paramount importance. A class of painting in India- labeled as ‘Miniature Painting’ is an important chapter in the history of painting. Artists, art lovers and critiques of art from all over the globe are still searching and analyzing the technique, flavor, and finesse of miniature painting.
This genre of paintings always brought fame to India. They are so deftly painted with exclusive detailing and delicacy that it always was at the focal point of the people involved in art and critiques of it, anywhere in the world and still attracting similar attention. Such were the finesse of creations that at times, magnifying glass was used to observe the finer details of the artworks. A close observation unfolds before the mesmerized eyes of the viewer the level of skill of artist as well as that of the artworks. This level of skillful creation made it a subject for prolonged discussion.
Indian miniature painting, a history spanning more than thousand years. Believed to have originated in India around 750AD during the rule of `Pal Dynasty’ who ruled over the eastern part of India. `Chalukya Dynasty’ started patronizing this form of painting during their period of rule, around 960AD. Subject of this period primarily was paintings depicting deities and religion. As the Mughals started their rule over India, they also took interest in miniature painting, and this form of art took a new turn in India. Akbar, without a formal education, apparently was interested in this form of art in order to describe his version of history, displaying prowess of the monarch and depiction of social life during that era, because, other than the beauty of the painting, it is the easiest method to create, send and preserve messages, while restoration and interpretation of information can be done at later point in time. Thus, another form of miniature painting known to be as ‘Mughal Miniature’ evolved. These paintings were developed at the court of the Mughal rulers - side by side Persian and European paintings and artists from these schools, arrived India via the usual channels had a fair share in creating Mughal Miniature, while travelers from abroad with artistic skills also added to this miniature art at times.
Rajasthan, regarded as the homeland of the warrior Rajput. The Rajput rulers too, contributed immensely through their passion and patronage in miniature paintings and to the artists involved in this form of art. These schools of miniature painting is broadly famous as `Rajput Miniature’. During that period under the active patronage and watchful eyes of the Rajput kings, the royal life and religious topics, such as Bhagwan Krishna and Radha and their ‘Leela’ was the most painted subject. Painting details were remarkable and they were done with extreme honor. Folk elements consistently influenced Rajasthani architecture and painting.
As discussed earlier- journey of miniature painting began with the `Pal’ style of miniature paintings under the aegis of Pal Kings, various schools of miniature paintings evolved over the course of next several centuries. These schools meticulously designed and depicted in details the socio-political, religious, economic environment in different parts of India. The miniature paintings created during this period had obviously influenced education, religious and political knowledge of people of India of that time.
This period of courtly patronage of Miniature Painting, there were schools for interpretations of this form of art. Some of the famous schools were:
Pal School of miniature art- said to have its inception around 8th century AD. The school had a tradition of depicting themes from religion and paintings of various deities, artists portrayed these subjects on palm leaves. Students from distant lands used to travel distances to be there to the eastern part of India desiring lessons on the techniques used by the masters of this form of art. Illustrations were sumptuous and preserved inside elegant wooden covers, a hallmark of the form of art during Pal dynastic rule.
Orissa School of Miniature Painting began its journey in or around 17th century AD. Despite the presence of paper as medium, this complex technique of miniaturized artworks was traditionally hand-drawn on palm leaves. This school too, chiefly featuring stories of love between Radha- Krishna; popularly known as Krishna Lila and Geetgovinda.
Mughal miniature, also called the Mughal School of miniature art started taking shape during reign of Mughals, later Akbar, interested in fusion of Indian school of miniature painting and that of Persia. The process continued through Jahangir and Shahjahan and their court painters as part of natural progression. For example, paintings of Govardhan and many more started displaying scenes from outside of courtroom or palace for the first time. The standard subjects were the royal court, king and the queen’s life, royal entertainment, scenes of hunting, battles and likes.
Located at the west central regions of India, Rajasthan, where courtly culture of Rajput rulers reflected a complex set of social relations. From the seventeenth to nineteenth centuries the patronage of the Rajput kings gave birth to another rich profusion of distinctive painting styles, devoted both to the illustration of poetical and religious themes and to royal portraiture of court life. Kings and royals had given enough emphasis on this miniature form of painting, establishing and nurturing this very school of art during their hay day. The usual school of Rajasthan miniature art mostly depicted Ramayana, Sri Krishna and Radha, the ornate life of kings and queens etc. In doing so, the artists of that period utilized natural resources like plant and mineral dyes. Rajasthani painting has distinct differences from the Mughal School of painting as Rajasthani miniature is bolder in use of colour, abstraction and conventionalized conception of the human figure. It is also distinct in ornamental treatment of landscape. Maintaining the tune with the popular devotion of Hinduism.
A related genre of miniature painting is ‘Ragamala’, this unique form of Indian miniature painting developed by combining variety of sources like literature, music and painting. Personification of modes evoke a particular mood related to the time of the day, or season, in which the specific melody is suggested to be performed. Ragamala miniatures are vividly colored, supremely delicate, and perfectly executed miniatures dating back to 1605 to 1770. The miniature form celebrates its literary content, association with music, and regional styles, providing an interpretation of its symbolism in a way that makes it not only accessible but also acceptable to a contemporary audience. Ragamala, where form of art and classical music fuse together to give birth to another form of art. Flourished during 16th to 18th centuries, ‘Paper’ was already introduced to the society and civilization – hence, encouraged ‘royals and prudent’ commissioned miniature paintings including Ragamala to save a record of their socio- political and often personal life through painting. Akbar too commissioned Ragamala paintings with similar intentions. Music has been a vital part of the Indian ethos since yore, recognized as combination of notes or frequencies delineated by the melodic movements, producing pleasant sensation, mood or emotion in the mind of the listeners.
In India, there are six main ragas; each raga has five raginis or wives and eight ragaputras or sons as it is envisaged since time immemorial.
The main six ragas are Bhairav, Dipak, Sri, Malkaus, Megh and Hindol. Bhairav is marked as ‘form of Lord Shiva’, Malkaus is a human lord and his ‘raginis’ are thought to be cast in the color of love. Raga Hindol is depicted by a swing usually related to Lord Krishna along with his consort and attendants where it may have a rain lashed background visible. Raga Dipak is associated with fire and light. Raga Sri is named after Goddess Lakshmi and depicted with ‘Kinnar’, a group of heavenly musicians selected to be painted within Ragamala painting. Each personification of these modes evokes a particular mood related to the time of day, or the season, a number of which found expression in painting.
The idea of Ragamala form of paintings were absorbed in most of the schools of Indian painting. The form represented the music in that specific school of art. Miniature paintings encapsulated the color and music to produce paintings of timeless value. ‘Ragamala’ paintings with their distinct identifications, are found within Malwa, Bundi, Kotah, Mewar, Bikaner, Kangra, Basholi, Kullu, Chamba, Bilaspur, Jammu, Deccan and Mughal schools of art portraying some of the examples of this artistic marvel.
Indian Miniature painting, which have its history found in India since around 7th century, a journey from wall space to miniature spaces like on a palm-leaf, cloth, bark, parchment and paper. Painting used to be a subject studied at gurukul. Paintings with pure and natural colors, clear and simple design with details, triangular torso, dilated pupil- Sanskrit poetic metaphor of Fish eye as mark of beauty. Gray-blue patterned dress, chequered bedspread, follow Jain convention while the new elements in the division of the picture into several plains, an open rooftop pavilion which is surrounded by flowering plants and trees display the updated skill within Miniature paintings painted by artists of that era.
Pahari painting school of miniature painting developed in the independent states at the Himalayan foothills in India. This form of painting is particularly interesting as it throws light on the nature of patronage. The style is chiefly made up of two contrasting schools, the bold intense Basohli and the delicate and lyrical Kangra. Some other known styles are Guler, Jammu etc. Pahari painting is closely related through concept and feeling to Rajasthani school of painting and shares common thematic ideas with the Rajput art of the North Indian plains utilizing a preference in depiction of legends such as Bhagwan Krishna.
The earliest possible known paintings in Pahari painting (c. 1690) are in the form of Basohli, a style that continued at centres until about mid-18th century only to be replaced by a transitional style sometimes referred to as pre-Kangra, lasted for a short span of about 35 years -1740 to 1775. During mid-18th century, many artist families with expertise in Mughal style apparently fled Delhi for the hills in search of new patrons and better living conditions.
Moreover, there was identifiable influence of late Mughal art observed within the newly generated ‘New Kangra’ style, which apparently rejected in whole the theme and ideas of Basohli School. Less intense colors, generally treating landscape and perspective with more naturalistic view, finer and delicate lines define this new genre of New Kangra style of art.
Around 1770 the lyrical charm of the Kangra School blossomed to its glory in full. It reached pinnacle during the early years of the reign of one of its most important patrons, Raja Sansar Chand (1775–1823). Kangra feminine ideal was the common legacy of Pahari artists.
Although the form of miniature Pahari art was named as ‘Kangra’ but the school was not confined only to the Kangra valley, as the influence of the art form was too wide- covering the entire Himalayan foothill, with various prominent idioms. As the independent states in the foothills were small and often very close to each other in their ideology and culture it is difficult to assign a definitive provenance to much of the painting.
‘Life and love’ of Krishna as expressed in the poetic works the Bhagavat-Puraṇ and the Gitgobinda are probably the most common theme on which the artists drew paintings. Other Hindu dharmic ideas and themes, hero-heroine and Ragamala, portraits of hill chiefs and their families are some of the popular themes around which miniature artists used to hone their skills. After 1800, this school of art started showing the signs of declining, and can be clearly visible through the inferior quality of the paintings that continued throughout the remainder of the 19th century.
Within Ragamala – heroines or nayikas were also chosen as subjects although they were chosen on rare occasion. During 18th century, few thematic subjects become very common due to the socio-political changes when court portraits, court scenes, and hunting scenes became increasingly popular as subjects.
Rajasthani paintings were kept within boxes or in albums, to enable viewing by passing through hand to hand and preserve from the effect of nature as a standard practice. Analysis of Rajasthani painting is a relatively new subject, as relatively new works with their broader details are being uncovered at regular intervals.
The Deccan style of the paintings, generated in the Deccan or the Southern part of India. The era of Deccan paintings was estimated to be late 16th and mid-17th century. They were independent of the Mughal Influences and influencers, while painting exclusive Deccan miniature paintings.
A comparison between Deccan art and Mughal art shows that Mughal school- which was evolving around the same time at the Northern part of India, however, Deccan paintings are found to be way too superior as it had exceled in sophistication, in use of colour and the vibe of luxury within.
A number of painting mediums and surfaces were commonly utilized while painting in miniature form. Surfaces used were silk, paper, ivory, canvas, cotton cloth, stone and many others which were locally available on which the skilled artists painted and created artworks which are still remembered.
Different types of brushes were also used by the adroit artists while painting Indian miniature, and these are hallmarks of the school of art; brushes made of squirrel hair were widely used to paint the extremely sophisticated works of art. Single hair squirrel brush was found to be used as a common practice in order to draw finest lines within the paintings.
Indian miniature painting successfully limned the history, mirrored the society during the period when there was very few or no other media to save message for the future. It is the sole source other than textual data – which shows the details of intricacies of royal life and living, nature and ambience.
Life in general, described through the medium with extreme skill and finesse- putting not only permanent mark on the mind of the viewer, but also recorded and preserved moments for the future generations to view and understand. It has survived the torment of time, still respected and sought after due to their class. Richness of color, convincing characterization and intricate details of elements that master artists of yesteryear delineated on available mediums of that day, not only displayed the level of creativity but also marked the era.