In ancient times the regions in
and around Jaipur were known as Dhundar. Most parts of Alwar, Jaipur,
Shekhawati are still called Dhundar Pradesh. Some scholars are of the opinion
that this province acquired the name because of a demon called Dhund. But other
scholars hold the view that this province, with shifting sand dunes, was
recognised as Dhundar Pradesh.' The Dhund river might also be considered the
principal basis for its name.
Under the banner of the Dhundar
school, we may study the Amber, Jaipur, Alwar and Shekhawati styles, and the
Uniara substyle among others. Dhundar Pradesh has its own distinct features and
geographical boundaries. In touch with the centre of gravity of the
administration, Delhi, and with the centre of culture, Braj, the Dhundar style
of painting had continued its pace of development through various new forms
from time to time.
Amber Style
The Amber style is the rich
heritage of the rajas of the Kacchava and Kush dynasties. In the 10th-11th
centuries they had a large kingdom around Gwalior. In 1071, Sod Deo along with
his son Dullaha Rai came to Dhundar Pradesh and steadily expanded their
kingdom. Their descendants made Amber their capital, and this city held this
position for seven centuries.' Ancient specimens of the Amber style of painting
are not available. Frescoes drawn around 1600-1614 upon cenotaphs in Amber are
the oldest available pieces of this style.' Paintings in the cenotaph of Bhar
Mal acquire great significance from the historical point of view. Inside the
cenotaph a panel of these 40 paintings depicts the early history of the Amber
style.
These paintings were drawn
straight upon the stone without having made them in the prevalent Jaipur Arais
style. Each painting is based upon a definite principle. According to subject
matter these paintings include scenes of hunting, incarnation, wrestling, yoga,
Laila-Majnu, rag-ragini, elephant, camel and fighting among animals.
Original colours like garun,
safeda , kaluns were used in these paintings. Drawing had been made either in
red or black and colour was applied on the figures. The strong influence of the
paintings of the period in reigns of Akbar and Jehangir is clearly discernible
in these paintings. Besides the impact of artistic folk art a circular jamma
with four pointed edges and Jehangiri turban are some special characteristics
of these paintings. Women in Rajasthani attire, including ghagra, odhni,
blouse, adorned with Mughal style ornaments are frequently seen in such
paintings.
Besides the cenotaphs of Amber,
frescoes in the Amber style may be noticed in the so-called Mughal garden of
Bairath, in which themes like rag-ragini, Krishna-Lila, nayika-bhed,
Laila-Majnu, wrestlers, elephant riding, horse riding, camel riding were
painted. To study the early stage of the Amber style, these paintings deserve
careful scrutiny.'
In the middle of the 16th
century the rajas of Rajasthan began to bow to the mighty Mughal Empire. In
1562, Akbar signified his good relations with the kingdom of Amber by marrying
the daughter of Raja Bhar Mal. In the
reign of Raja Man Singh (1589-1610), the Kacchava dynasty of Amber maintained
very close relations with the Mughals.
The cenotaphs of Amber, the
gardens of Bairath and Mojamabad, the birthplace of Raja Man Singh, have
frescoes which were greatly influenced by the Mughal style. The famous
pictorial text Rajina-Namali (1584-1588) compiled at the court of Akbar and
preserved in the city Palace Museum, Jaipur, provides very useful information
about the initial growth of the Amber style and details regarding artistic
exchanges.
The second stage of development
of this style commenced in the reign of Mirza Raja Jai Singh (1625-1667). The
renowned Ritikaleen poet Bihari was one of his courtiers. Bihari-Satsai deeply
influenced many artists. Paintings belonging to this age are rarely available.
They exhibit the salient features of folk art (Pl. 30) and the impact of the
Mughal school.
Salient Features
The style possesses its own
characteristics, in which the structure of bodies of both male and female has
been much influenced by Rajasthani folk art. Because of their kinship with the
Mughals mutual cultural exchange was natural. Hence the impact of ornamented
dresses belonging to the periods of Akbar and Jehangir is discernible.
Jamma with four pointed edges
and later circular jamma and tight-fitting pyjama, Jehangiri turban style,
dress like that worn by Chhagtai women, are quite visible in the Amber style.
Black phulitline on hands hagra, odlmi are closely linked with Rajasthani
style.
Poor quality of line is seen in
the Apbhransh style, and so are natural colours like hirmich, kaluns, safeda,
pewari, extensively used in the shape of animals, birds and trees as in folk
art. In sum and substance, the Amber style has its own constitution quite
visible in these frescoes and in some pictorial texts.
Jaipur Style
Jaipur, because of is
architectural charm, pleasant combination of colours and scientifically laid
out plan, is known as the Pink City of India. Owing to its traditional
miniatures, artistic cottage industries, existing festivals and colourful dress
Jaipur has been a great cultural centre since its inception.
The newly laid out city
attracted architects, artists and other learned personalities from every part
of the country. The traditional Kacchava or Amber style preferred tender
drawings. Because of the close ties with the Mughal court, the impact of the
Mughal style became more pronounced in this period. Muhammad Shah was a court
artist of great skill. Because of the powerful cultural impact of the Mughals
some doubts about paintings of this period are often heard.
Sawai Jai Singh's son Raja
Ishwari Singh (1743-1750) was a great Tantric. In his reign he was engaged in a
constant struggle with the Mahrattas and ended his life with a dose of poison.
But in his short rule he constructed an iser latt to commemorate his victories
over the Mahrattas.
In his time, Sahib Ram, a
chittara, emerged as a talented artist. He painted a portrait of Raja Ishwari
Singh with the help of Chandras which has been recognized as of high quality.
Another famous artist of his period was Latt Chittara, who had painted many
pictures depicting animals and birds in struggle. These pictures are very
lively.
In the reign of Sawai Madho
Singh I (1751-1767), consistent instability prevailed because of differences
between Jats and Mahrattas, but still Sisodia Rani Palace and Chandra Palace were
adorned with frescoes. The traditional frescoes of Jaipur had reached the
portals of have! is. The havelis of Pundrik deserve special notice.
Sahib Ram earned the reputation
of being a seasoned artist in this period. He painted large-sized portraits
with Ramji Dass and Govindji, two more artists, while Lall Chittara continued
to paint various royal sports. In paintings of this age the Mughal influence
began to wane and a pure Rajput style showed signs of replacing it. In place of
paintings the traditional ornamented Manikuttim style in which beads, red and
wooden mannis, are pasted together, began to receive encouragement.
The reign of Maharaja Prithvi
Singh (1767-1779) was short. Artists patronised by the state continued to
pursue their vocation. Court artists Hira Nand and Trilok earned great fame. In
1778 they drew a life-sized portrait of their maharaja.
With his sudden death his
younger brother Sawai Pratap Singh (1779-i803) took charge of the
administration. He was a keen lover of art and literature and he added new
chapters to the development of artistic and literary activities in the state.
He was drawn towards religion and poetry, and he composed poems under his pen
name Braj Niddhi. He also dedicated himself to Pushti Marg, which had developed
his devotion to the Krishna-Bhakti cult. Twenty-one texts he compiled are still
available. The world famous Hawa Mahal was built in his regime. Pritam Niwas,
adorned with traditionally artistic doors, Diwan-e-Aam, the upper floors of
Chandra Mahal, were designed by him as well as built under his guidance.
As he was both poet and devotee
many poets and artists congregated at his court. The seasoned artist Sahib Ram
continued to practise his art there. Three pictures he painted have been hailed
as unique specimens of his painting. Two are portraits of the maharaja and the
third a dance pose of Radha-Krishna.
In this period themes relating
to this of Radha-Krishna, nayika-bheda, rag-ragini, ritu-varnan were
extensively portrayed. Large-sized portraits of raja-rani, many paintings
concerning Bhagwad-Puran, Durga-Saptshati, Krishna-Lila de-serve special
mention here." Other artists besides Sahib Ram included Jeevan, Chassi,
Salig Ram, Raghu Nath, Ram Sevak, Copal, Udai, Hukma, Chimna, Daya Ram, Raju,
Niranjan who deserve special notice. They worked on both frescoes and
miniatures in the Jaipur style.
This style of painting
continued to flourish till the reign of Sawai Jagat Singh (1803-1818). The
renowned traditional poet Padamakar lived in his court. He linked the Jaipur
royal house with Bihari Satsai after having compiled. Jagad Vinod."
Paintings titled Goverdhan Dharan and Ras-Mandal are exquisite examples of the
art of that age.
After Sawai Jagat Singh the
original form of the Jaipur style did not last long once the impact of British
culture began to be felt. In the period of this maharaja, artists began to
pursue painting in the representational style. Portraits were drawn like
photographs.
After studying this new trend
the maharaja set up the Maharaja's School of Arts and Crafts and thus gave a
new direction to the local style of painting. According to his directive, the
whole city was painted pink. The traditional beauty of Jaipur thus vanished
into oblivion.
At Uniara a new substyle
developed, combining both Jaipur and Bundi styles. Frescoes of the palaces of
Uniara and miniatures preserved in private collections of the Uniara royal
family and Sangram Singh testify to this fact. Paintings in the palace of Samod
were also drawn on the basis of the traditional frescoes of the Jaipur style.
Generally speaking, the
traditions of frescoes available in palaces, temples and havelis had spread far
and wide. The style of decorations which had adorned temples, cenotaphs and
havelis in Shekhawati during the 19th century was influenced by frescoes of
the Jaipur style.
Salient Features
The early Jaipur style being in
accordance with the traditional Amber style and because of contacts with the
Mughal court had flourished under the Mughal influence. But by and by it
acquired the originality of Rajput culture, which had exhibited the
predominance of the folk art character and grandeur of Rajputs in paintings of
the Jaipur style.
The haveli of Pratap Narain,
along with traditions of drawing frescoes in Galta, the haveli of Pundrik,
Chandra Mahal, Sisodia Rani Palace and the palatial buildings of
Nagar-Shreshthis and temples with hundreds of pictorial texts, thousands of
miniatures and life-sized and larger portraits are specimens of the legacy of
the Jaipur style.
According to Sangram Singh, the
Jaipur style possesses the following significant features.
In the Jaipur style artists had
infused a new tradition of painting life-sized portraits. Early pictures had
certainly been drawn in a traditional style. Thou-sands of portraits and group
paintings are salient features of the Jaipur style, in which portraits of
feudal lords, artists and group paintings of royal processions, mehfils, utsav,
colourful hunting scenes had been specially made. In the tradition of
miniatures and pictorial texts, Geet-Govind, Ramayan, Krishna, Durga-Saptshati,
Mahabharat, rag-ragini, barah-masa, nayika-bhed, the art of pleasure was
extensively painted.
Artists in the Jaipur style
applied deep reds in drawing margins on paintings. White, red, yellow were
extensively utilised. Applications of gold and silver were also made.
In paintings of this style men
and women appear in proportion. Male figures have clean, attractive faces. They
are often depicted with swords tied to their waists. Regarding ornamented
dress, males are shown wearing sehra tied with turra kalangi.
Wealthy men are shown wearing
turban, kurta, pyjama, chogga, angrakin, belt, pataka, shoes in such paintings.
Female figures are shown with
large eyes, bunch of long hair, stout physique and pleasant mood. Like other
Rajasthani styles in this style too female figures adorned with tikka, toti,
ball, necklace, hansli, satlan, tevta, kantha, banwanti, bangles, payajeb were
depicted. In drawing dresses blouse, kurta, clupatta, lehnga, besor tilak and
embroidered shoes were frequently used. Artists drew elegant gardens to provide
the background in paintings. Lion, tiger, sheep, goat, camel, horse, ox,
peacock, duck, parrot were painted to suit a picture's theme.
After 1950, because of the
introduction of photography, coupled with foreign influences in art and
architecture, foreign themes were introduced and assimilated in the Jaipur
style, and the original characteristics of the style began to deteriorate
slowly.
Uniara Substyle
The wall-paintings of the
palace of Uniara Thikana in Tonk district, the 'miniatures' from the personal
collection of Rao Raja Rajendra Singh of Uniara and also the paintings from the
personal collection of Kumar Sangram Singh, bear their own identity and these
can be classified under Jaipur substyle. Situated on the border of Jaipur and
Bundi States, Uniara Thikana imbibed the impact of Bundi
art due to matrimonial
relations, and the influence of Jaipur art also on account of blood-relations
thereby evolving a new style of painting which is known as Uniara substyle.
The descendants of Naruji of
the Amber Kachhwahas came to be known as 'Naruka'. In his lineage Rao Chandra
Bhan Dasawant (1586-1660) fighting for the Mughals displayed remarkable valour
in the Kandhar Battle (1606). Pleased by his chivalry the Mughal emperor
bestowed upon him the four parganas of Uniara, Nagar, Kakor and Banetha.
In the fifth generation of Rao
Chandra Bhan was born an ardent art-lover Rao Raja Sardar Singh (1740-77) who
built magnificent palaces in Uniara and Nagar, and patronised artists like
Dheema, Meer Bagas, Kashi, Ram Lakhan and Bhim etc. A close observation of the
wall-paintings of Nagar and Uniara palaces reveals the collective influence of
Bundi and Jaipur substyles on them.
The Uniara substyle is also
revealed through the 'manuscripts' and miniature paintings. The Bhagwad Puran,
Ramayan and a number of 'miniatures' from the personal collection of Rao Raja
Rajendra Singh are very important from the point of view of art. In the
personal collection of Kumar Sangram Singh lots of 'miniatures' are available
among which the paintings of Zanani and Mardani Mehfil (Men and Ladies'
Concerts) are worthy of special mention. Some paintings can also be sighted in
the National Museum, New Delhi.
On the basis of the
achievements of above wall-paintings, 'manuscripts' and 'miniatures', the
Uniara substyle has acquired a distinct form in which a new tradition of
painting emerged from an amalgamation of two styles. The Uniara Thikana
following the Kushwaha cultural tradition was under the domain of Jaipur state,
and as such the Uniara substyle bears the stamp of total impact of Jaipur style
in terms of structure, colour-scheme, and dresses etc.
A number of Jaipur painters
have also contributed to this style. On account of the geographical proximity,
located near Bundi as it is, and also due to the marriage of the daughter of Rao
Raja Sardar Singh with Bundi King Dalel Singh, the Bundi painters had a chance
to visit Uniara, and as such the total influence of Bundi style is marked on
the architecture, natural-setting, face-structure and the decoration of these
paintings.
In view of the Nagar and Uniara
wall-paintings, there is a great scope for further work on this substyle.
Shekhawati Style
In the 15th century
Shekhaji, grandson of Mokulji, earned a great reputation for being a brave man,
as great in the art of war as in imparting justice, who had set up an
independent kingdom which acquired much fame as Shekhawati state. This
territory is an integral part of the Rajasthan desert and is recognised as the
confluence of wealth, education and art. Known as Marukan tar in the Ramayana
and Mahabharata ages, this territory, engulfed within the boundaries of Matsya
Pradesh, should be treated as lying within the campus of the Dhundar school.
In ancient days, this part of
the land being surrounded by dangerous and dense forests and rich in deposits
of copper was a great centre of culture. Recent archaeological excavations at
Ganeshwar, ten kilometres from Neem-ka-Thana, revealed thousands of spikes of
arrows, pointed edges of spears, ornaments, fish hooks and axes belonging to
the copper age. A civilisation 5,000 years old has been discovered and proves
beyond doubt that the copper used in the Harappan and Mohenjodaro and Indus
Valley civilisations was procured only from this site. So old and abundant were
these prehistoric utensils made of copper that they were not available
else-where in the world."
The Ganeshwar civilisation
would undoubtedly herald a new era in the annals of archaeology. Remnants of
the Mahabharata and Ramayana and Bodh ages are sometimes discovered in
Shekhawati. The influence of the art of Gurjara-l'ratiharas spread in wide
areas of Shekhawati. Many spots like Jodhpura, Sunari, Harsh Nath, Shakambari
remained as great centres of art and culture.
Shekhawati merged with various
commercial centres in the early part of the 19th century and due to the exodus
of traders to pursue their business activities else-where this territory became
the cradle of the goddess Lakshmi. Hence the Birlas of Pilani, Poddars of
Nawalgarh, Bangurs of Baggar, Ruias of Ramgarh and Dalmia, Bajaj, Jaipuria
occupied significant positions in the Indian economy. They constructed large
havelis, temples and cenotaphs in their towns and had them deco-rated by
artists. The art galleries of haveis and their internal and external perspectives
were adorned with attractive paintings.
As painting in havelis is a growth of the 19th
century, it has been greatly influenced by folk art and the Company style. With
the advent of the British, faster means of communication, new lifestyle, and
development of new inventions, these wealthy traders painted their havelis on
the British pattern. The cultural impact of the 19th century could well be
studied in the Shekhawati style.
These havelis of seths laid out
in vast areas were built on the principle of Bharatiya Shilpa-Shastra. Great
scope exists to undertake the study of those located at Nawalgarh, Fatehpur,
Laxmangarh, Mukundgarh, Churu, Sardar Sehar, Ramgarh from the point of view of
artistic values and architectural principles. These were decorated with
artistic wooden doors and gavaksh doors, and their front walls were adorned
with paintings influenced by the Rajput and Company styles.
Interiors of havelis were
painted as far as possible. In some havelis art galleries were established with
engraved mirrors and gold polish." Entrance gates were decorated
artistically. In the above-mentioned towns paintings expressing the moods of
Radha-Krishna are abundantly visible in temples. Cenotaphs located at Reengus,
Ramgarh, Bissau, Choori Ajitgarh were elaborately painted in an advanced stage
of the Amber style.
There is not a single town in
Shekhawati where havelis and temples have not been decorated with paintings.
From the point of view of impact of painting, Shekhawati may be classified in
three parts:
1. Region adjoining Jaipur:
frescoes at Chommu, Samod, Reengus. Srimadhopur, Ajitgarh are greatly
influenced by the Jaipur style. Their themes and colouring tend to be very
close to that style.
2. Styles of paintings at
Patan, Ganeshwar, Chhapoli, Khetri and many towns of Jhunjhunu were greatly
influenced by the folk art of Haryana.
3. Effect of the Marwar school
was very great at Nagore, towards Bikaner and towns located in the western part
of Sikar. But even after this traditional impact the Shekhawati style appears
to maintain its own characteristics.
Salient Features
1. Drawings of elephants and
horses and guards were made in bold relief in the brackets of havelis.
2. Drawings of gods and
goddesses were painted in sharp outlines on gavaksh and main gates.
3. Below projections, in spaces
between todas artists skilfully painted themes like wrestling, churning,
godohan, dhola-maru, nayika engaged in shringar, curious animals, birds, divine
manifestations, demons, kant-kala, love, rag-ragini, barah-masa, saints and
ascetics, folklore.
4. The exterior and interior
walls of many havelis are covered with pictures showing the impact of the
Company style and of industrialisation. Railway trains, motor vehicles,
bicycles, sewing machines, aeroplanes, sofa sets and other articles belonging
to the Victorian age may be seen. The impact of British rule brought great
changes in manner of eating, style of dressing, way of living, which have been
well depicted in these paintings.
Areas of Shekhawati like
Sahapura, Ajitgarh, Patan, Khetri, Bissau, Pilani, Chirawa, Nawalgarh, Ramgarh,
Baggar, Sikar, Reengus, Chommu, Samod, too could prove useful within limits for
a special study of artistic growth.
Alwar Style
As a study of the Alwar style
has never been undertaken, it has not come into the limelight. Occasional
references have however been made to it by connoisseurs of art from time to
time. In regard to painting, examination of available materials (frescoes),
manuscripts, miniatures, plates of ivory, mica and wood reveal a style of
painting no less impressive than other styles of Rajasthan.' Examples of this
style are preserved in many museums, temples, palaces and in private
collections yet to be researched.
Like other styles, the origin
of this style is presumed to have taken place after the establishment of Alwar
state. Rao Raja Pratap Singh (1756-1790), by his bravery, intelligent
statesmanship and political ability created an independent kingdom after
conquering parts of Bharatpur and Jaipur.' In 1770, after having laid out
Rajgarh on a new pattern, he constructed a strong fortress there and made it
his capital. About this time two artists named Dhalu Ram and Shiv Kumar
migrated to Alwar from Jaipur." They presented some of their artistic work
to the maharaja. Shiv Kumar is believed to have-returned to Jaipur but Dhalu
Ram was appointed in charge of the state museum, which contained the private
collection of pictures of the royal family.
Dhalu Ram was skilled in
drawing frescoes. The beautiful frescoes in the Sheesh Mahal of Rajgarh fort
were probably painted under his supervision. If we admit this view, these
frescoes may be presumed to be the best specimens of the early stage of the
Alvvar style.
About 30 kilometres from Alwar
at Rajgarh, a beautiful palace of glass is located on the upper portion of the
fortress. Paintings on perforated screens and lower walls deserve high praise.
This Sheesh Mahal is located in two parts, a big hall about 25 feet by 12 feet
and a verandah 25 feet by ten feet adjoining it from the north.
The ceiling of the hall is
studded with glass of different colours, and white glass is engraved on the
walls. At occasional spaces, many paintings were executed while the walls below
the perforated screens are decorated with the foliage of trees.
The frescoes of this palace
show a variety of themes, including paintings relating to Krishna-Chant,
Ram-Chant, nayikas, the royal court, music which may be presumed to be early
developments of the Alwar style. Paintings concerned Ram Lila, Goverdhan Dharan,
Gocha ran, Hindola, Veni-gunthan, churning of milk and Ram's valour.
Raj Tilak and other artists are
concerned with Krishna and Ram Lila. Among them, drawings of cows and seven
coloured drawings deserve close attention. The drawings of Dhanush Bhang and
Raj Tilak possess large dimensions, and elephant and horse riding revive
memories of Ajanta.
Drawings of yawning nayikas
removing a thorn, nayikas and maidservants engaged in beautification, are very
pleasant. Paintings of women playing the tabla, sitar and sarangi are less
pleasing. Scenes of the royal courts of Maharaja Pratap Singh and Bhaktawar
Singh are painted on the walls. Blending of colours in various designs of
foliage and the rhythm of the drawings are very impressive. Lines are very sharp
and bold in relief.
The whole job was probably
executed by an artist of great merit like Dhalu Ram. In the Sheesh Mahal of
Rajgarh fort, the effect of the almond colour of the Ajanta style is very
evident. Light green, blue and gold used in these paintings are impressive.
Sheesh Mahal was constructed
around the period of Rao Raja Bhaktawar Singh (1790-1814) son of Rao Raja
Pratap Singh. Bhaktawar Singh himself was a poet and keen lover of poetry. It
is a sad reality that most of these paintings have started to deteriorate in
the absence of patronage.
Bhaktawar Singh composed poetry
under the names Chandra-Sakhi and Bhaktesh. Dan Lila is a very significant text
he compiled. Having heard praise of Rao Raja's patronage of the arts, many
artists from distant states came to Alwar, where their talents were suitably
rewarded. In their period Alwar flourished culturally. Baldev Salga and Salig
Ram were leading artists of the state.
After Rao Raja Bhaktawar Singh,
for having given a new direction to the Alwar style the credit goes to his
successors Maharaja Vinay Singh (1814-1857) and Raja Balwant Singh (1826-1845)
of Tijara. In their period the style reached its zenith.
Vinay Singh earned a big
reputation among kings of Alwar for his keen love of art. He contributed
towards the development of the Alwar style as much as Akbar did for the Mughal
school.
Hearing he was a connoisseur of
art and virtuous, many artists, architects, scientists and musicians thronged
to his court to emulate his example. It was in this period of Bahadur Shah
(1806-1837) and Bahadur Shah III (1837-1859) that the Mughal Empire with its
capital Delhi began to shrink in size and disintegrate politically.
Maharajas Vinay Singh and
Balwant Singh were great connoisseurs of art and enriched their museum after
purchasing artistic items. They organised a big library after procuring many
pictorial texts. Rare games and unique arms were procured to enrich their
collections of jewellery and armouries, and having provided royal patronage to
artists they gave a dynamic thrust to the art of painting. They had a golden
opportunity to display their artistic talents in the reign of Vinay Singh. He
had learnt this art from Baldev, who occupied a high position at the royal
court. He had originally worked in the traditional Alwar style. Later, he
produced beautiful paintings strongly influenced by the Mughal school.
Maharaja Vinay Singh was keenly
interested in getting pictorial texts painted as well as scrolls of script
paintings. Because of this he invited Gulamali, a seasoned artist, Aga Mirza of
Delhi, a great calligrapher, and Nathha Shah Dervesh, a highly skilled
bookbinder also of Delhi. Calligraphy and painting texts like the Ramayan,
Mahabharat, Srimad Bhagwad Gita, Geet-Govind, Durga-Saptashati, Gulistan, Koran
unmistakably reflect the keen devotion of Vinay Singh to artistic activities. Calligraphy
and drawing of Gulistan were a unique feature of his reign. Creation of this
text cost Rs. 1 lakh. Pictures of the text were drawn by Baldev and Gulamali.
All the calligraphy of this work was formed with a pen made of sect ha. If a
mistake appeared on any page the whole page was done all over again.
Khawaswal queen, Moosi Maharani
of Rao Raja Bhaktawar Singh had per-formed the rite of Satti alongwith Rao Raja
having left her son. Her son Balwant Singh had created trouble to secure the
throne himself. To avert armed conflict the northern part of the state was
handed over to Balwant Singh in 1826. He had made Tijara his capital but died
without issue in 1845. Tijara was thus merged with Alwar state again.
In his reign of 23 years he
devoted himself to the pursuit of artistic values, and his great contribution
in this regard is a memorable event in India's cultural history. He was a king
keenly devoted to promoting the arts. At his royal court artists like Salig
Ram, Jamuna Dass, Chhote La!, Baksa Ram and Nand Ram had painted pictorial texts,
scrolls and miniatures extensively. Paintings by Jamuna Dass up to 1844 are
available, and the names of Raja Balwant Singh and the artists who worked on
these pieces are inscribed on them.
The paintings of Jamuna Dass,
with their bold relief in line and soft, tender colour schemes are worth
seeing. Paintings with the name of Baksa Ram belonging to this period are
preserved in the state museums and in private collections of Maharajkumar
Yashwant Singh of Alwar's family.
After the merger of Tijara, the
artistic heritage and artists moved to Alwar. Vinay Singh and Balwant Singh
enriched their museum there after buying works of art from the royal treasury
and library of the Mughals. Historic pictures of Mughal emperors, books, a
Shahi album, sets of miniatures, weapons, dresses and equipment studded with
precious stones are regarded as the proud heritage of the museum which would
shed new light on the history of the Mughals.
Diwanji ka Rang Mahal, built in
the reign of Vinay Singh (1830) deserves careful study for its frescoes. In the
tradition of frescoes in the Alwar style it is another significant specimen.
The forefathers of Bal Mukund held the position of diwan of Alwar state from
time to time and Bal Mukund (1783-1855) held it under Maharaja Bhaktawar Singh.
He had also served as diwan to Vinay Singh. Brave and benevolent, he was also
highly religious and a keen lover of art.
A manuscript was compiled by
his grandson about the haveli and Sheesh Mahal around 1836-37. Diwan Bal Mukund
had the havell constructed at the well of Munshi Bagh for his residential
purposes. Very large, it is also sturdily built. Its gate is located in the
west. A passage near this door leads to the Sheesh Mahal situated on the upper
portion, in which gold workmanship of high quality and engraving of mirrors in
various patterns and in different shades of colours had been performed.
This Sheesh Mahal was also
constructed on the same plan as that of Rajgarh. A big room and a verandah in a
northerly direction deserve admiration for architectural beauty. The walls of
the room are studded with chips of white glass with paintings on a rectangular
panel between the ceiling and the wall decorated with paintings depicting 24
incarnations, their six rag-raginis and various musical modes.
On the wall, attractive murals
depicting Goverdhan-Dharan, Veni-Gunthan,, Hindola, Raj Tilak and mehfil have
been painted. Paintings of nayikas and doorkeepers are also very pleasant to
look at. From the point of recalling a sentimental experience the frescoes of
the Alwar style are unique. Well preserved, their condition is better than
those of Rajgarh, but on the whole the lines of this Rang Mahal and the
application of colours do not display the kind of charm noticeable in the
Sheesh Mahal of Rajgarh.
This Rang Mahal, built in the
period of Vinay Singh (1814-1857) amid the old havelis of Alwar, still reminds
of the glories of old. The construction of many temples and palaces and the
workmanship of foliages in various shades of colour make us understand the
Alwar style.
These paintings depict clearly
the impact of photography. In the adjoining room, miniatures painted on paper
were pasted on the wall and covered with glass, but such types of frescoes
could not be regarded as belonging to the traditions of fresco painting though
such experiments could be noticed in many other palaces of Rajasthan.
After Vinay Singh the period of
Sawai Shiv Dan Singh is no less significant from the point of view of painting.
He was learned in Persian and Hindi and had a special love for painting and
music. His artistic tastes were well suited to his luxury-loving temperament.
Hundreds of erotic paintings based upon Kam-kala and drawn in his time are good
artistically.
Being very fond of music, his
court was crowded with saniras and dancing girls. Hundreds of such paintings
depicting these gayikas are still available in private collections of the royal
family, which show the effect of the Company's style besides that of
photography.
In his time, an era of
deterioration began in the Alwar style. With the Western impact the photograph
began to receive greater prominence and the poetical beauty, sharpness of
colour and bold relief in line and drawings of purdahs began to lose ground
slowly.
Maharaja Mangal Singh, unlike
his ancestors, had no love for the line Budha Ram, Udai Ram, Moo! Chand, Jagan
Nath, Ram Gopal, Bishen Lal continued to maintain in the Alwar tradition of
painting.
Budha Ram had mastered the art
of drawing animals and birds. He held the position of daroga of the Sheesh Mahal
of Rajgarh and the museum of Alwar. Mool Chand acquired expertise in painting
ivory pieces. Many paintings drawn on pieces of ivory are a unique feature of
the Alwar style.
The traditions of painting
frescoes also flourished in temples and cenotaphs in Rajasthan. Alwar had not
lagged behind in the art of frescoes. In temples built by the mother of Mangal
Singh at Thana and Bhurassidih many paintings had been executed. But these
paintings being of later dates are not so artistic. In the temples of Raj Mahal
some scattered paintings are still available although they almost vanished in
the absence of official protection. In the temple of Lacidu Khavasji glass was
fixed over paintings made on paper on walls.
The frescoes drawn on cenotaphs
belonging to Hanuvant Singh of Thana, Khavasji-ka-Bagh of Rajgarh, and the
garden of Macchedi and on Tal Briksh, although time-worn exhibit glimpses of
grandeur even today. Among them, a large number of paintings depicting the
lilas of Ram and Krishna and scenes of the royal court and state processions
were drawn. Certainly, the art of these cenotaphs had greatly influenced folk
art. The effect of folk art is more pronounced in the arrangement of lines and
choice of colours.
Examination of the frescoes of
the Alwar style shows that the style of painting developed there had flowed in
dual waves, one in engraving frescoes, and the other into pictorial texts and
miniatures.
In the reign of Jai Singh,
former Maharaja of Alwar, architecture, music and painting flourished. A large
portrait of his shows a scene of one of his processions and deserves special
mention. Ram Shaya Nepalia, who painted this picture, should be remembered. In
the history of Rajasthani art, the contribution of artistslike Ram Gopal, Ram
Prasad, Jag Mohan and Onkar Nath is no less significant.
Subject
As remarked earlier, the Alwar
style attained diversity in regard to theme. In the royal courts of Rajputs,.
mehfils, Krishna-Lila, Ram Lila, religious conversation with saints and
ascetics in natural surroundings, rag-raginis had been extensively painted.
Vinay Singh and Balwant Singh had specially got them painted like rag-ragini,
barah-masa and pictorial texts in Hindi and Sanskrit which included the Mahabharat,
Geeta, Ramayan, Shiv Kavacch, Durga-Saptashati, Geet-Govind, Kali Sahasra-Nama
and Mahiman Stotra. Because of the contact with Muslim artists and feudal lords
from the Mughal court, the Alwar style of painting was more influenced by the
Mughal school and its themes in place of Rajput grandeur.
According to the selection of
themes the third phase began from the time of Maharaja Shiv Dan Singh (1857).
Because of the impact of photography portraits of individuals were made in
large numbers. Hundreds of paintings concerning Ganikas and Kam-Shastra are
still available. Yogasan was also treated as an important theme of the Alwar
style. In this way the tendency towards painting individuals increased against
drawing groups.
Salient Features
In early paintings, till the
period of Bhaktawar Singh, all the salient features of Rajasthani painting are
clearly noted in the Alwar style. Hence it becomes rather difficult to
dissociate them from the Jaipur style. But still the effect of natural beauty,
the way of living and physical characteristics of the state are clearly
discernible in such paintings. These paintings, endowed with lyrical sentiment
and folk art, appeal in line and colour.
In its most significant days a
balanced coordination of the Rajasthani (particularly Jaipur) style and Mughal
and Persian schools is clearly visible. Because of this coordination a separate
identity could be given to the Alwar style. Figures of males were drawn like
the mango or some curve was provided to the chin. Their stature is slightly
short with raised bons, their limbs were drawn with great pains, and these
represent salient features of the Alwar style.
The local effect is seen in the
tie-and-dye work of the turbans. The impact of Rajput and Mughal styles upon
the dress of male and female is largely evident. The natural perspective of
Alwar may be viewed in paintings of this style with drawings of forests,
gardens, kunj, palaces and so on.
Construction of beautiful
vaslian adorned with attractive foliage is a remarkable characteristic of the
Alwar style. Trade in these vaslis continued to flourish till 1947. Merchants
bought vaslis designed with foliage from there and covered them with old
paintings, and thus greatly enhanced their beauty. Application of bright
colours made these paintings very attractive, especially with the use of red,
green and gold. Drawings of white clouds, clear sky, forests and gardens full
of animals and birds, rivers, mountains were painted according to the natural
perspective of Alwar.
Writer
– Jai Singh Neeraj
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