Eternal India Encyclopedia

Eternal India encyclopedia

ART

elongated female and oval faces, Rajput elements predominate later (between 1760-1780) in its linear rhythm and glowing colours under the patronage of Bijai Singh (1753-1793), Bhim Singh (1793- 1803), Man Singh (1803-1843) the last setting the fashion of bell- like skirts and short bodies for women and pleated coats, flat- twisted turbans, side whiskers for men. Under him, the paintings il- lustrating Shiva Purana, Nathacarira, Durgacharitra, Panchatantra, Ragamala, Kamasutra were produced. Near Jodhpur, Bikaner became an important school of painting, where Rai Singh (1571-1612) employed artists and encouraged Sanskrit classics. Karan Singh (1631-1669) whose reign coincided with that of Shah Jehan and Aurangzeb, had eminent artists, such as Ustad Isa Muhammad. In the tiny state of Kishangarh,

Guler was the refuge of artists trained in the Mughal style. Under Dalip Singh, a family of Kashmir Brahmins, Manak Vain Sukh be- came well known. Govardhan Chand (1744-1773), Prakash Chand and Samsar Chand were great patrons and there are pictorial rec- ords of Samsar Chand and his court. The themes of Bhagavat Purana, Gita Govinda, Sat Sai, Nala and Damayanti in the Ma- habharata, the Ragamala series and "Twelve Months" are better in style. The "Twelve Months" was more than the vision of changing seasons and landscape. In the plate (pi no.32, Indian Painting by Randhawa and Galbraith) depicting the month of April (1790) showing the Raja of Lamba-graon, the lovers are seated on a ter- race and the hill side in the background is covered with flowers. The lady is imploring her lover not to leave on his travels and leave her alone when the spring is in its prime. The painting catches the uni- versal spirit of spring. These paintings were produced in the sub- Himalayan states of Jammu, Basohili, Chamba, Nurpur, Kangra, Kulu, Mandi and Siket. The theme is Krishna at his boyhood pranks and his dalliance with Radha. Dance and music in sylvan surround- ings is a frequent motif of this school. The paintings of Basohili display brilliant colours. The paintings of Kangra have the fine artistry of Mughal miniatures. The earliest paintings in Kerala were discovered in the rock-cut cave temple of Tirunandikkara. Here we have outlines of the figures of Shiva and Parvathi. Painting belonging to the 16th C is found on the Gopura of Shiva temple at Ettumanur. It is 12 feet in length and 3 feet in height. The theme is Shiva, as Nataraja, trampling under- foot the spirit of evil represented by a demon. In the palace at Pad- manabhapuram, the capital of Travancore, we have nearly 50 scenes of mythological interest painted on the four walls of the room. The Adi Kesava Perumal temple at Tiruvattar has murals belonging to early 17th C. The royal palace at Mattancherry has mural paintings in the royal chamber. On the walls are 48 pictures covering more than 300 feet of which 43 are scenes from the Ramayana and remaining from Krishna Leela. In the ancient Shiva temple at Tiruvanchikulam are seen five panels of mural painting, the best of which is a scene from the Mahabharata. In the Vishnu temple of Aranmula there are four mural paintings on the walls of the Srikoil. The Virabhadra temple at Lepakshi contains the best paintings. During the time of the Vijayanagar King Achyuta Raya, two nobles who were brothers undertook the erection and painting of this temple. Originally paintings covered the ceilings but they are now partially damaged. The best of these paintings

was discovered another school by Eric Weckinson where a tendency to elongate the human figure, lav- ish use of green, panoramic land- scapes can be seen. The great pa- tron, Sawani Singh, was fond of themes of worship and love mak- ing of Krishna. The style portrays women with elongated faces with a receding forehead, arched eye- brows, lotus-like eyes, slightly tinged with pink, a sharp pointed nose, thin sensitive hips and a pointed chin as seen in the painting of Radha and Krishna by Nihal

Chand (pi. 20, Indian Painting, by Randhawa and Galbraith), one of the most striking of all Indian paintings. Sawant Singh fell in love with a maid in his step-mother's entourage, Bani Thani, who posed as Radha. A series of paintings of the Gita Govinda was done in 1820 for Kalyan Singh (1798-1834) which are rhythmic and sensu- ous. Painting in Jaipur was initially Mughal in style, but gradually under Pratap Singh (1779-1803) Mughal influence receded and a genuine Jaipur-Rajput style made its appearance. A favourite theme was Krishna performing the Ring Dance with his gopis. The minor principalities, Rajput states on the southern edge of the Punjab Hills, were ruled by Ranas, who patronised painting. Basholi, under Raja Kirpala developed the new, distinctive and magnificent style, with a strong use of primary colours, expressive eyes, a unique facial formula, warm horizon, yellow background conveying an impression of the bright sunlight of India. The source of the style is unknown but might have originated when artists mi- grated during the reign of Aurangzeb; though it has little in common with Mughal spirit and expression. Produced in a wealthy state, the themes are from Rasamanjari done by Devi Dasa (1694-1695) and his other versions are now in the Bharat Kala Bhavan, Benares,

shows an episode from the life of King Manunitikonda Chola who grants justice to a cow whose calf was killed by his son's chariot. He ordered the prince to be sacrificed under the chariot wheels. Appreciating the King's sense of justice Lord Shiva restored life to both the

Dogra Art Gallery in Jammu, Museum of Fine Arts in Boston, the Victoria and Albert Museum in London and many private col- lections. Another favourite theme is the love of prince Madhava for Malati and Krishna worship. The kingdom of Kangra in the Punjab Hills in its birthplace at

Maids attending on Parvati, Virabhadra

temple, Lepakshi

victims.

There are also scenes from Draupadi's wedding. Kiratarjuniya (Arjuna's penance) to obtain pasupatastra from Shiva and the story of Bhukailasa. There is a picture of infant Krishna lying on a banyan leaf floating over the primordial waters.