PAINTINGS

Painting
1.What are the basic differences between Mughal style of painting and Rajput style of painting ?
(About 50 words) 1985

2.Kishangarh style of painting 1989

3. Kangra School of Painting 1990

4.Bundi School of Painting 1993

5. Write about Kulu School 1998

6. While bringing out their salient features, distinguish between either "Madhubani' Art and
'Manjusha' Art or "Rajasthani' schools of painting and the 'Pahari' schoolof Painting.(10/1/6a/12)
ANCIENT PERIOD

• Painting as an art form has flourished in India from very early times as
is evident from the remains that have been discovered in the caves,
and the literary sources

• pre-historic rock painting at Bhimbetka caves (M.P.)

• cave paintings of Narsinghgarh (Maharashtra) show skins of spotted

deer left drying

• seals of Harappan civilization

• Hindu and Buddhist literature refer to paintings of various types and
techniques

• Lepyacitras - the representation of folklore

• Lekhacitras - line drawing and painting on textile

• Dhulitcitras - painting on the floor

• .
• Mudrarakshasa (5th Century A.D.) mentions numerous paintings or Patas

• Vishnudharmottara purana (7th century A.D.) has a section on painting

called Chitrasutra which describes the six organs of painting like variety of
form, proportion, lustre and portiyal of colour etc.

• Thus, archaeology and literature testify to the flourishing of painting in India

from pre-historic times
Gupta Paintings

• Ajanta - only surviving example of painting of the first century BCE and the fifth
century CE

• Cave No. 26 is very big and the entire interior hall is carved with a variety of
Buddha images, the biggest one being the Mahaparinibbana image

• Their subject - animals and birds, trees, flowers, human figures and stories from
the Jataka (cave no. 10 )

• Mural paintings are done on walls and rock surfaces like roofs and sides

• murals chiefly depict religious scenes from the life of the Buddha and the
Buddhist Jataka stories but we also have secular scene
•
Ajanta Painting
• Outward projections are used in the Ajanta paintings of the fifth century CE.

• Lines are clearly defined and are very rhythmic.

• Colours are limited. Figures in these caves are painted with considerable
naturalism and there is no overstylisation.

• Events are grouped together according to geographical location.

• Figures appear like the Sanchi sculptures which indicate how the lithic and
painting traditions were progressing simultaneously.

• Painting of the Buddha, Yashodhra and Rahul, Cave No. 17, Ajanta
• It may also be observed that various skin colours are used in the paintings such
as brown, yellowish brown, greenish, yellow ochre, etc., which represent a
multicoloured population.

• The themes of the paintings are the events from the life of the Buddha, the
Jatakas and the Avadanas.

• Some paintings such as Simhala Avadana, Mahajanaka Jataka and

Vidhurpundita Jataka cover the entire wall of the cave.

• The other important paintings are the famous Padmapani (lotus bearing) and
Vajrapani (lightening bolt bearing) in Cave No. 1.
Materials used in the
paintings

• Mention of chitra shalas (art gallery) and Shilpasashtra (technical

treatises on art) have been made in literary sources.

• Colours were locally available except lapis lazuli which came

from Pakistan

• Use of colours were decided by the theme and local atmosphere

ART IN MEDIEVAL INDIA

• During the period of Delhi Sultanate, mural painting has been reported from the
royal palaces and royal bed-chambers and mosques

• Persian and Arabic influences on Indian painting

• paintings from other regional states - palace of the Gwalior king Man Singh
Tomar

• Miniature painting emerged as a powerful movement in Gujarat and Rajasthan

and spread to Central, North and Eastern India because of the patronage of
rich Jain merchants

• Mandu in M.P., Jaunpur in Eastern Uttar Pradesh and Bengal in Eastern

The Miniature

• The miniature were small works which were made on perishable

materials.

• In this category, Buddhist, Jain and Hindu manuscripts were illustrated,

on palm leaves.

• They resemble the Ajanta style, but on a miniature scale.

• These were made on the request of the merchants, who donated

them to the temples and monasteries
• Miniatures paintings are beautiful handmade paintings, which are
quite colorful but small in size

• intricate and delicate brushwork

• number of miniature schools in the country, including those of Mughals,

Rajputs and the Deccan
• The earliest instances of the Indian Miniature painting are those
related to the Pala School and date back to the 11th century.

• highly influenced by the mural paintings

• During the time of the Mughals, Muslim kings of the Deccan and
Malwa as well as the Hindu Rajas of Rajasthan, this art flourished to
quite an extent.

• the Mughals - introducing Persian tradition in the Miniature paintings

Mughal painting
• Akbar and his successors brought revolutionary changes to painting and sensual
illustrations.

• Emperor Akbar patronised artists from Kashmir and Gujarat; Humayun

brought two Persian painters to his court - Mir-Sayyid Ali and Abd-us-samad

• Abdus-Samad, Dasawanth and Basawan

• Akbar also encouraged the art of making portraits

• an integrated and dynamic style resulted from the synthesis of Persian and
Indian style and the independent style of Mughal painting was developed
• Under Akbar - fond of tales - based on the Mahabharata, Ramayana and
Persian epics - enhanced naturalism, with animal tales, landscape, portraits, etc

• Jahangir - more refinement in brushwork, along with the use of much lighter and
subdued colors - events from Jahangir's own life, along with portraits, birds,
flowers, animals, etc.

• Shah Jahan - . The themes of that time revolved around musical parties, lovers
on terraces and gardens, ascetics gathered around a fire, etc
MUGHAL & MINIATURE PAINTINGS
• Beautiful illustrations are found on the pages of Babumama and
Akbarama

• The art of painting reached its climax during the period of Jahangir
who himself was a great painter and connoisseur of art.

• vibrant colours such as peacock blue and red

• three dimensional effects to paintings.

• Mansur, Bishan Das and Manohar

• Dara Shikoh patronised painting like his grandfather.

• However withdrawal of royal patronage to painting under Aurangzeb led to
the dispersal of artists to different places in the country

• This helped in the development of the art of painting in Rajasthan and the
Punjab hills giving rise to distinct schools of paintings, for example,
Rajasthani and Pahari Schools

• themes drawn from epics, myths and legends

• Other themes were Barahmasa (seasons) and Raga mala (melodies).

• rise of the Bhakti movement in India in the fifteenth and sixteenth centuries also
inspired illustrative texts on the themes of Vaishnava devotional cults
ART IN THE MODERN
PERIOD
• semi westernised local styles which were patronised by British residents and
visitors.

• Themes were generally drawn from Indian social life, popular festivals, and
Mughal monuments.

• the later nineteenth century art schools on the European model were
established in major Indian cities like Calcutta, Bombay and Madras.
•
• reflected the improvised Mughal traditions.

• Shaikh Zia-ud-Din’s bird studies for Lady Impey and the portrait paintings of
Ghulam Ali Khan for William Fraser and Colonel Skinner
Bengal school of Art

• Oil paintings of Raja Ravi Varma of Travancore depicting mythological and

social themes became highly popular.

• Rabindranath Tagore, Abanindranath Tagore, E.B. Havell and Ananda Kehtish

Coomaraswamy played an important role in the emergence of the Bengal school
of Art.

• Shantiniketan -Kala Bhavan

• Talented artists like Nandalal Bose, Binod Behari Mukheijee and Ramkinkar Baij
• Nandalal often derived inspiration from Indian folk art and also from
Japanese painting while Binod Behari Mukeijee was deeply interested
in oriental traditions

• Jamini Roy, another great painter of this period, drew inspiration from
Orissa’s pata painting and Kalighat painting of Bengal.

• Amrita Shergil

• Increasing awareness about British rule, ideals of nationalism and the

desire for a national identity led to creations which were distinct from
earlier art traditions
• 1943, during the period of the second world war Calcutta painters led by
Paritosh Sen, Niroda Majumdar and Pradosh Dasgupta formed a group who
depicted the condition of the people of India through new visual
language, and novel techniques.

• formation of the Progressive Artists Group in Bombay in 1948 under

Francis Newton Souza.

• included S .H. Raza, M.F. Hussain, K.M. Ara, S.K. Bakre and H.A. Gode
• The Madras School of Art under Debi Prasad Roy Chowdhury and K.C.S Paniker
emerged as an important art centre in post independence period

• Daily encounters with poverty and corruption, the political morass of the
country, the explosive communal tension, and other urban issues became
the themes or subject matter of their works

• modern Indian artists are Tyeb Mehta, Satish Gujral, Krishan Khanna, Manjit
Bawa, K.G Subramaniyan Ram Kumari, Anjolie Ela Menon, Akbar Padamsee,
Jatin Das, Jehangir Sabavala and A. Ramachandran.
• Two government institutions have been set up to promote art, music etc in India

• The National Gallery of Modern Art

• Lalit Kala Akademi

•
Lalit Kala Akademi - Ministry of
Culture

• National Academy of Art, New Delhi was set up by the Government of

India as an autonomous body, on 5th August 1954 by the then
Honourable Minister for Education, Maulana Abul Kalam Azad.

• Statutory authority in 1957 under the Societies Registration Act 1860

• Since its establishment, it has been serving the entire country by

promoting the creative endeavours of Indian artists and bringing their
arts to bear upon a large number of people.

• It plays an important role in defining and redefining the sensibility of an

entire culture falling under the visual arts spectrum.

• National Lalit Kala Akademi Awards

Cave Painting / Mural
Traditions

• murals of Ajanta, Ellora, Bagh, Sittanavasal, etc, which reflect an emphasis on

naturalism.

• Ancient cave paintings of India serve as a window to our

ancestors, who used to inhabit these caves
TIME PERIOD WALL PAINTING

10,000 – Prehistoric paintings in rock shelters and walls of caves show early life and activities of human society
8000 BCE

1–1000 AD Buddhist viharas or monasteries and chaitya or prayer halls in Ajanta in Maharashtra, Alchi monastery
in Ladakh, and in Bagh in Madhya Pradesh have murals depicting the life of Buddha and other religious
stories.

1000–1700 Wall paintings can be found in the temples of Kailashnath Temple of Kanchipuram in Tamil Nadu.
AD Recently wall paintings were found in the Brihadesvara Temple of Thanjavur, Tamil Nadu. Early examples
of Jaina paintings were found in Sittanavasal in Pudukottai District of Tamil Nadu. At Virubhadra Temple
in Lepakshi are examples of the Andhra style of mural painting

1600–1900 Mural paintings also adorned palaces. Excellent examples are found in Bundi, Jaipur and Nagaur and the
AD fortified palace in Patiala in the Punjab.

1900–2000 Mural paintings continue today in many of our village communities especially Bihar, Maharashtra,
Rajasthan and Gujarat. Artists of today, like Jatin Das and M.F. Husain, have created paintings for
contemporary building interiors.

2010-2020 Graffiti (public painting based on opinion); Event paintings – stations, stadiums
PAINTING PLACE FEATURES THEMES

Ajanta 100 km from the date back to the period of the Mahayana sect of Buddhism life and teachings of
Paintings city of Lord Buddha
Aurangabad Calligraphic lines characterize these paintings, which can be
classified into portraits, narrative illustrations and ornamental Jataka stories
decoration

Ellora Chamadari Hills, Kailasa temple.

Painting lying
approximately The rock paintings of Ellora were painted in two different series.
18 miles to the
northeast of The first series, which were done when the caves were carved,
Aurangabad city revolve around Lord Vishnu and Goddess Lakshmi.

The second series, painted centuries later, illustrate procession of

Shaiva holy men, Apsaras, etc

Bagh Caves Dhar, M.P Cave 4 or Rang Mahal (Palace of Colours)

Bagh Print (GI Tag)

Buddhist mural paintings, These rock-cut cave monuments are not

natural but carved over a period of time during the ancient India
mostly during the Satvahana period
Badami Caves, Karnataka

• Badami was the capital of the early Chalukyan dynasty which ruled the
region from 543 to 598 CE.

• The Chalukya king, Mangalesha, patronised the excavation of the

Badami caves.

• The inscription in Cave No.4 mentions the date 578–579 CE,

describes the beauty of the cave and includes the dedication of the
image of Vishnu – a.k.a Vishnu Caves

• Paintings in this cave depict palace scenes

• extension of the tradition of mural painting from Ajanta to Badami

in South India.
Murals under the Pallava,
Pandava and Chola Kings
• Mahendravarma I who ruled in the seventh century was responsible for building
temples at Panamalai, Mandagapattu and Kanchipuram.

• The inscription at Mandagapattu mentions Mahendravarman I with numerous

titles such as Vichitrachitta (curious-minded), Chitrakarapuli (tiger among
artists), Chaityakari (temple builder), which show his interest in art activities.

• Paintings at the Kanchipuram temple were patronised by the Pallava king,

Rajsimha
AJANTA PAINTING BAGH CAVE PAINTING
SCHOOL OF PLACE FEATURES THEMES
PAINTING
Sittanavasal Trichy ancient Jain Monastery - Pandyan period Nature
Paintings
eyes are slightly elongated and at times protrude off the face.
observed in many subsequent paintings in the Deccan and South
India.
Sittanavasal Paintings Warli Paintings Kalighat Paintings
 South Indian temples
• Brihadeshwara temple at Tanjavur are decorated with wall paintings on themes from
epics and mythology

• narrations and aspects related to Lord Shiva, a portrait of the patron Rajaraja and his
mentor Kuruvar, dancing figures, etc

• In Hampi, the Virupaksha temple has paintings on the ceiling of its mandapa
narrating events from dynastic history and episodes from the Ramayana and the
Mahabharata.

• In Lepakshi, in present Andhra Pradesh, there are glorious examples of Vijayanagara

paintings on the walls of the Shiva temple

• Nayaka paintings were more or less an extension of the Vijayanagara style

Kerala Murals

• adopting certain stylistic elements from Nayaka and Vijayanagara

schools

• taking cues from contemporary traditions, like Kathakali and kalam

ezhuthu (ritual floor painting of Kerala)

• using vibrant and luminous colours, representing human figures in

three-dimensionality
• Even today we observe that mural painting on interior and exterior walls of houses
is prevalent in different parts of the country.

• These paintings are usually made by women either at the time of ceremonies or
festivals or as a routine to clean and decorate the walls.

• Some of the traditional forms of murals are

 pithoro in parts of Rajasthan and Gujarat,

 Mithila painting in northern Bihar’s Mithila region,

 warli paintings in Maharashtra

SCHOOL OF PLACE FEATURES THEMES
PAINTING
PITHORA tribes of Rathwas, Bhils, colorful images auspicious occasion
PAINTINGS and Naykas of Gujarat and (like weddings,
Madhya Pradesh colors are prepared by mixing pigments with milk and liquor childbirth, festivals) in
prepared from the auspicious Mahua tree. the family or
community
Amitabha Tibetan Buddhists physical representation of the transmutation of worldly desires derive their themes
Thangka into all encompassing luminous awareness from Buddhist
philosophies
celestial paradise called Sukhavati, or the "realm of bliss”.
"Buddha of
Infinite Light” Amitabha Buddha positions his hands in the typical gesture of
meditation - holds the begging bowl of an ordained Buddhist
monk - a symbol of infinite openness and receptivity

Thangka Paintings are composite three-dimensional products of

art

WARLI derives its name from a decorative paintings on floors and walls of ‘gond’ and ‘kol’ tribes’ Warli paintings do not
PAINTING small tribe inhabiting the homes and places employ religious
remote, tribal regions of iconography and is a
Maharashtra simple and local materials like white colour and rice paste and more secular art form
local vegetable glue on a plain contrasting background

geometric patterns
BANI THANI PAINTING AMITHABH THANGTA PITHORA PAINTINGS
SCHOOL OF PLACE FEATURES THEMES
PAINTING -
MINATURE

Pala School symbolic use of color

use of a skillful and graceful line, modeling forms by delicate and
expressive variation of pressure, use of natural color for painting
human skin, etc

Jain School of strong pure colors, stylish figures of ladies, heavy gold outlines,
Miniature diminution of dress to angular segments, enlarged eyes and
paintings square-shaped hands.

Pahari painting Himachal mostly in miniature forms. Bhakti movement -

-Rajput Pradesh and divided into two distinct categories, on the basis of their Shaiva-Shakta
paintings Jammu & geographical range, namely: themes were
Kashmir supplemented by
Basohli and Kulu Style (Influenced by Chaurpanchasika style) argot poetry and folk
songs of Lord Krishna
Guler and Kangra Style (Based on cooler colors and refinement) and Lord Rama.
Types of Pahari Paintings
Garhwal Paintings

Guler Kangra Style Paintings

• Basohli Paintings Jammu Paintings
Himachal - manifestations of the
Supreme Goddess Jasrota Paintings

• Bilaspur Paintings - Himachal Kulu Paintings - Bhagavata

Bhagavata Purana, Ramayana and Purana, two Madhumalati
Ragamala series, artists also made manuscripts
paintings on rumal (coverlets)
Mandi Paintings – Himachal
• Chamba Paintings Mankot Paintings - Jammu
• quite similar in appearance to and Kashmir
Mughal style of paintings, with
strong influences of Deccan and Nurpur Paintings - Himachal
Gujarat style Pradesh
SCHOOL OF PLACE FEATURES THEMES
PAINTING

MYSORE classical the reign of the Wodeyars - Raja Krishna Raja Wodeyar
PAINTING South Indian
painting paste of zinc oxide and Arabic gum, known as 'gesso paste’

RAJPUT originated in reflect strong Mughal influence the Great epics of

PAINTING the royal Ramayana and the
states of done on the walls of palaces, inner chambers of the forts, havelis, Mahabharata, the life
Rajasthan etc. of Lord Krishna,
landscapes and
Colors used for the painting were derived from minerals, plant humans.
sources, conch shells, precious stones, gold and silver, etc.

Amber and Jaipur School Bikaner School

Bundi-Kota Kalam School Jaipur School

Kishengarh School Marwar School

Mewar School Raagamala School

SCHOOL OF PLACE FEATURES THEMES
PAINTING

Bundi reign of Rao Ratan late 16th century - reflected heavy Mughal emphasis on court scenes
Singh (1607-1631) influence
Rao Chattar Sal
Kota look very natural in their appearance and are hunting scenes, Ragamalas, and
calligraphic in their execution portraits

Kishangarh fusion of Mughal and regional style ; best depiction of the love between Krishna
known for its Bani Thani paintings - The and Radha. Other popular themes
Radha of Kishangarh was the epitome of included the poetry of Sawant Singh,
graceful Indian woman Shahnama and court scenes

Malwa/ conservative Rajput Painting Schools

Mewar highly influenced by Chaurpanchasika style
strong colors and bold lines

Tanjore Thanjavur (also dense composition, surface richness and theme of Hindu Gods and Goddesses,
Painting known as Tanjore) vibrant colors along with saints. The main figure is
city of Tamil Nadu always painted at the center of the
embellishments of semi-precious stones, painting
pearls and glass pieces
three dimensional effect
BASIS MUGHAL SCHOOL RAJPUT SCHOOL/ PAHARI SCHOOL
RAJASTHANI
ORIGIN Persian blend; Humayun – Originated in 16th century - in the Originated in Sub Himalayan kingdoms in 19 th century -
16th Century royal states of Rajasthan Himachal Pradesh and Jammu & Kashmir

Indianised under Akbar

SUB Amber and Jaipur School; Bundi- Basohli Paintings; Bilaspur Paintings
SCHOOLS Kota Kalam School; Kishengarh Kulu Paintings ; Garhwal Paintings
School Jammu Paintings; Guler Kangra Style Paintings
Mewar School

TYPE Mostly in miniature form Some are influenced by Mughal Mostly done in miniature form – influenced by Rajput
style (Kishangarh) – some are style/Mughal style
conservative (Malwa, Mewar)

THEMES Document life at Mughal Strong influence of literary and Love, Krishna-Radha - Bhakti movement - Shaiva-Shakta
Court, battles, hunt, musical forms, draws upon their themes were supplemented by argot poetry and folk songs
festivals, Portraits motifs - Great epics of Ramayana and of Lord Krishna and Lord Rama.
the Mahabharata, the life of Lord
Krishna, landscapes and humans
FEATURES Realism; vibrant colours Colors used for the painting were Bold and intense, Tones subdued
three dimensional effects ; derived from minerals, plant Geometrical patterns - Basohli paintings
sources, conch shells, precious Mankot Paintings - vivid colors and bold subjects;
stones, gold and silver, etc emphasis shifted to naturalism and subdued colors.
Nurpur Paintings - dazzling colors were replaced by
muted ones
BASIS MUGHAL SCHOOL RAJPUT SCHOOL/ RAJASTHANI PAHARI SCHOOL

ARTISTS Abdus-Samad, Dasawanth Bani Thani paintings - Savant Singh Artist Devidasa
and Basawan Dalchand – Marwar School
Mir-Sayyid Ali and Abd-us-
samad
PATRONS Akbar, Shah Jahan, Jahangir Rao Ratan Singh; Rao Chattar Sal – Basohli - patronage of Raja Kirpal Pal
Bundi Mandi - Raja Sidh Sen

Kota - Jagat Singh

 COLONIAL PAINTINGS

• From the eighteenth century European artists came to India along with the British
traders and rulers & brought new styles and new conventions of painting

• One popular imperial tradition was that of picturesque landscape painting --

Thomas Daniell and his nephew William Daniell

• modernising influence of British rule, by emphasising a picture of dramatic change.

• Unlike the existing Indian tradition of painting portraits in miniature, colonial

portraits were life-size images that looked lifelike and real.

• The size of the paintings itself projected the importance of the patrons who
commissioned these portraits.
• There was a third category of imperial art, called “history painting”
Lord Clive meeting Mir Jafar, Nawab of The Storming of Seringapatam,
Murshidabad, after the Battle of Plassey painted by Rober Kerr Porte
Company Paintings
• With the establishment of British power many of the local courts lost their
influence and wealth - could no longer support painters and pay them - Many of
them turned to the British.

• At the same time, British officials, who found the world in the colonies different
from that back home, wanted images through which they could understand India,
remember their life in India, and depict India to the Western world.

• local painters producing a vast number of images of local plants and animals,
historical buildings and monuments, festivals and processions, trades and crafts,
castes and communities.

• These pictures, eagerly collected by the East India Company officials, came to be
known as Company paintings.
The New Popular Indian
Art
• In Bengal, around the pilgrimage centre of the temple of Kalighat, local
village scroll painters (called patuas) and potters (called kumors in
eastern India and kumhars in north India) began developing a new
style of art

• With the spread of nationalism, popular prints of the early twentieth

century began carrying nationalist messages.

• In many of them you see Bharat Mata appearing as a goddess carrying

the national flag, or nationalist heroes sacrificing their head to the
Mata, and gods and goddesses slaughtering the British.
SCHOOL OF PLACE FEATURES THEMES
PAINTING
KALIGHAT origin Kalighat Patua painters from rural Bengal came and settled in Kalighat to a unique new form of
PAINTING in Kolkata make images of gods and goddesses in the early nineteenth expression-
century commenting on the
social life of Bengal.
began to use shading to give them a rounded form, to make the Kalighat paintings
images look three-dimensional. became the best
mirror of this cultural
use of a bold, deliberately non-realistic style, where the figures and aesthetic shift
emerge large and powerful, with a minimum of lines, detail and
colours

paintings on paper made with water colours comprise clear

sweeping line drawings using bright colours and a clear
background.

paintings are often referred to as the first works of art that came
from Bengal

Kalighat artists responded to the world around, and produced

paintings on social and political themes.
The Search for a National
Art
• Towards the end of the nineteenth century, a stronger connection was
established between art and nationalism.

• Raja Ravi Varma was one of the first artists who tried to create a style that was
both modern and national.

• Ravi Varma -family of the Maharajas of Travancore in Kerala - mastered the

Western art of oil painting and realistic life study, but painted themes from Indian
mythology.

• set up a picture production team and printing press on the outskirts of Bombay.
Here colour prints of his religious paintings were mass produced
• In Bengal, a new group of nationalist artists gathered around Abanindranath
Tagore (1871-1951), the nephew of Rabindranath Tagore.

• They rejected the art of Ravi Varma as imitative and westernised

• Indian style of painting had to draw inspiration from non-Western art traditions, and
try to capture the spiritual essence of the East.

• turned for inspiration to medieval Indian traditions of miniature painting and the
ancient art of mural painting in the Ajanta caves.

• also influenced by the art of Japanese artists who visited India at that time to
develop an Asian art movement.
DECORATIVE ART

• Rangoli or decorative designs on floor are made for auspicious occasions

• designs are called

1. rangoli in the North,
2. alpana in Bengal,
3. aipan in Uttaranchal,
4. rangavalli in Karnataka,
5. Kollam in Tamilnadu and
6. mandana in Madhya Pradesh

• rice powder is used for these paintings but coloured powder or flower petals
are also used to make them more colourful
SCHOOL PLACE FEATURES THEMES
OF
PAINTING
MITHILA Mithila region of three dimensional images using vegetable colour with few earthen colours and finished in black Hindu mythology
PAINTING Bihar lines on cow dung treated paper
celestial subjects
Madhubani folk produced by village women
art Tulsi
social variation in subjects and use of colours. One can identify the community to which the
painting belongs from the colours that are used in them also show court
scenes, wedding
Paintings made by the upper, more affluent classes are colourful while those made by the lower caste and social
people use red and black line work happenings.

passed on by the mother to the daughter - become a source of income for local women Intricate flora,
folk. animal and birds
motifs

KALAMKARI Andhra painting done by kalam (pen). Ramayana, the

PAINTING Pradesh Mahabharata and
It is hand painted as well as block printing with vegetable dyes applied on cloth. Hindu religious
vrathapani Sri-Kalahasti is mythology
the best known decorating temple interiors with painted cloth panels - patronage of Vijaynagar rulers
centre of
Kalamkari art. a continuous legacy from father to Son

Masaulipatnam kalamkari dyes are obtained by extracting colours from plant roots, leaves, along with salts of iron, tin,
in Andhra copper, alum etc
Pradesh
Mithila Painting
Kalamkari Painting
SCHOOL OF PLACE FEATURES THEMES
PAINTING
Orissa Patachitra Orissa mostly painted on cloth are more detailed and more colourful most of these depict
stories of Hindu gods and
depicts stories from the famous poem, the Geet Govind goddesses
Phad Paintings Rajasthan, Phad is a type of scroll painting depicts the heroic deeds
mainly of a heroic figure, the
found in the Raw colours are used for these paintings daily life of a peasant,
Bhilwara bold lines and a two dimensional treatment of figures with the rural life, animals and
district entire composition arranged in sections. birds, flora and fauna.

GondArt Santhals in
India

Batik Print imported

from the
Orient
Kolam Tamil Nadu Floor painting made by women at the entrance of their homes
with white rice powder
Jharnapatachitra West Bengal long vertical paper scroll used to tell stories from religious
epics.