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In the field of paintings, Rajasthan is a wonderland and unique. Diverse varieties of traditional Rajasthani paintings adorn the art galleries and walls of all corners of the globe. Various schools of painting flourished in Rajasthan from 16th century onwards. Each school has its distinctive and unique style. Marwar is a region of southwestern Rajasthan state in western India. Marwar was an important centre of Gujarati-Jain art activities. It was at Marwar and other places such as Jodhpur, Pali and Nagaur that a variety of sub-schools of paintings developed during 17th -19th centuries. Of these, Jodhpur is the most important centre of Marwar School of paintings. Rao Jodha founded Jodhpur, the capital of Marwar in 1459. As in the other states of Rajsthan, the Jain style of painting flourished in Jodhpur in the 15th and 16th centuries. Subsequently, a folk art style became prevalent and a Ragmala series in this style was painted at Pali in 1623. The paintings in the Mughal style developed mainly under the patronage of Jaswant Singh (1638-1681) and also by his successors also up to 1750.
The turban seen in the Marwar paintings has its own characteristics. It funnel shaped and markedly high. The faces are usually drawn in profile, and bright colors are preferred in the compositions. Spiral clouds are also shown streaming on the horizon. A large numbers of portraits, court scenes are and themes such as Baramasa are to be found in the Jodhpur style. Court paintings in Jodhpur developed greatly developed during 17th Century through the association of Marwar's Rulers with the Mughal Emperors. During the 18th and 19th centuries it evolved into a distinctive Rajasthani style, combining Mughal naturalism with local folk style and bold colors. In Nagaur, another centre of the Marwar School, we find among other subjects several important portraits executed in a markedly dignified style.
Marwar developed a sophisticated and distinct School of Miniature Paintings. Marwar School reflected Mughal influence and nobles on horses and durbar scenes were prominent in these paintings. Between 1760 and 1780 the Mughal influence disappeared and the Rajput elements became prominent in the paintings of Jodhpur, which are characterized by linear rhythm and glowing colors. In the Marwar paintings, festivals, ceremonies, elephant fights and hunting expeditions are generally portrayed.The themes also included scenes borrowed from Lord Krishna’s life. Other popular themes were ‘Raagmala’ and ‘Gita Govinda.’
Jodhpur Style
Jodhpur is the second largest city in Rajasthan. The city is known as the Sun City for the bright and sunny weather it enjoys all year. It is also referred to as the Blue City due to the blue-painted houses around the Mehrangarh Fort. It was founded in 1459 by Rao Jodha, a Rajput chief of the Rathore clan. As in other states of Rajasthan, a Jain style of painting flourished in Jodhpur in the fifteenth and the sixteenth century. Jodhpur has a very strong folk tradition and here the figures are mainly robust warriors and dainty women. Paintings of the legendary lovers like Dhola-Maru on camelback, hunting scenes which included innumerable horses and elephants dominate the paintings of the Marwar region. Many paintings of the early 17th century belong to the Jodhpur style, and even though highly influenced by the Mewari style possess their original character.
A 'Ragamala' series of 1623 was painted at Pali in a style of folk art. Paintings in Mughal style developed under the patronage of Jaswant Singh (1638-1681), who served as the Viceroy of the Mughals for Malwa, Gujarat and the Deccan. Many portraits of this ruler exist in the palace collection of Jodhpur, which indicates the presence of a considerable group of artists. Ajit Singh (1707-1724) continued the patronage of painting in the Mughal style. His successor Abhai Singh (1724-1750) was fond of dance and music and was also a keen patron of painting and literature. There is a lovely picture in the Jodhpur palace in which he is shown listening to music. The elongated female figures and oval faces reflect the Mughal style of the Muhammad Shah period. The late Jodhpur style, characterized by the lavish use of yellow, blue and green colors, spiral clouds on the horizon, reached its climax in the reign of Man Singh (1823-1843). In these paintings women wear bell-like skirts and men have side whiskers, flat-twisted turbans and accordion-pleated coats.
The Jodhpur style is the principal style of the Marwar School, but even today a large number of paintings in this style are not available and whatever is available belongs to the early period of 19th century. Despite being influenced by the Mewar School, the Jodhpur style has its own striking feature and as a result its separate constitution comes to light. Males in this style are stoutly built and tall. Their curved mustaches, touching their throats and dress decorated with royal splendor are very impressive. Paintings in Jodhpur got a new impetus during the reigns of Ajit Singh and his successors Abhai Singh and Ram Singh, when the literary works Gita-Govinda, Dhola Maru, Raagmala, Baramasa portraits were painted in large numbers. Beautiful and attractive paintings were painted in the palace of Nagaur during the reign of Bhakhat Singh.
Bikaner Style
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Kishangarh Style paintings
The Kishangarh style has its own combination of colors. To express tender sentiments of Radha-Krishna artists often used light colors. The principal colors were white, rose, cream and deep red. The Kishangarh style possesses some distinct features which maintain its unique identity. Drawings of limbs of males and females, colorful paintings of nature, illustrations of themes connected with the Radha-Krishna cult are some distinct features of this style. Male figures are tall, of attractive physique with blue aura-like bunch as of hair, elevated turbans, with strings of pearls in white or blue, symmetrically developed forehead, thin lips and wide and attractive eyes stretched to the ears like khanjan birds are some unique features of the Kishangarh style. Female figures are fair in complexion, and their wide eyes are adorned with kohl. The natural perspective of Kishangarh and Roopangarh was endowed with lakes, mountains, gardens and various birds.
Kishangarh style of paintings was basically a fusion of Mughal and regional style. The most common theme of this style consisted of the depiction of the love between lord Krishna and Radha. With the demise of Maharaja Sawant Singh and his leading artists, this school lost its glory and started breaking down. By and by the eternal quality of the Kishangarh style began to lose its distinct character. Its deterioration began to be visible in paintings in the reign of Prithvi Singh (1840-1880). After this period, the Kishangarh style was lost in oblivion.All paintings are courtesy of Art of Legend India.
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