The earliest Indian paintings were the rock paintings of pre-historic times, the petroglyphs as found in places like Bhimbetka, and some of them are older than 5500 BC. Such works continued and after several millennia, in the 7th century, carved pillars of Ellora, Maharashtra state present a fine example of Indian paintings, and the colors, mostly various shades of red and orange, were derived from minerals. Thereafter, frescoes of Ajanta and Ellora Caves appeared. India’s Buddhist literature is replete with examples of texts which describe that palaces of kings and aristocratic class were embellished with paintings, but they have largely not survived. But, it is believed that some form of art painting was practiced during that time.
Somewhere around 1st century BC the Sadanga or Six Limbs of Indian Painting, were evolved, a series of canons laying down the main principles of the art. Vatsyayana, who lived during the third century A.D., enumerates these in his Kamasutra having extracted them from still more ancient works.
These ‘Six Limbs’ have been translated as follows :
1. Rupabheda The knowledge of appearances.
2. Pramanam Correct perception, measure and structure.
3. Bhava Action of feelings on forms.
4. Lavanya Yojanam Infusion of grace, artistic representation.
5. Sadrisyam Similitude.
6. Varnikabhanga Artistic manner of using the brush and colours. (Tagore.)
The subsequent development of painting by the Buddhists indicates that these ' Six Limbs ' were put into practice by Indian artists, and are the. basic principles on which their art was founded.
Indian painting had its birth in the caves of Ajanta about 200 B.C. The Ajanta Painting depicts the main events in the life of the Buddha and the Jataka stories which describe his previous incarnations. A lyrical beauty, naturalism and fluid grace and the rhythmic line that remained the basis of Indian painting in succeeding centuries characterize them.
The Ajanta painting had a wide influence on Indian art. Gopala found the Pala dynasty about 760 A.D. and his successor was Buddhist and built many temples and monastery. During the rule of Pala Kings from 11 th to early 12 th centuries, themes from the Buddhist religious texts were painted on palm leaves. The paintings are in the center with text on both sides. At that time paper had not yet reached India so they used palm leaves.
In 1192, Muhammad Ghori defeated Prithviraj Chouhan, the Rajput King of Delhi. As a result of this, Muslim supremacy was established in northern India. This was a major event in the history of India. Northern India was ruled thereafter by a succession of Pathan kings, namely the Khiljis (1290-1320), the Tughlaqs (1320-1413), the Sayyids (1414-51) and Lodis (1451-1526).
On Delhi Mughal dynasty rules for very long period and Mughal paintings period started. Almost Mughal Emperors give patronage to art paintings. In Rajasthan many Rajput Rajas also give patronage to painting Art.
A distinct evolution in Indian miniature painting can be traced from the Pala to Kangra School. The gentle rounded faces of the Buddhist gods and Goddesses are transformed in to Jain deities with their angular featured. The projecting eye in Jain painting is dropped and faces become rounded again in the pre- Mughal paintings of th eKulhadar group. These rounded faces of women persist in the early Deccani painting. They later on merge with the Persian elements in the Akabari Mughal paintings. The harshness of the Mughal is subdued and sensuousness and gentleness make an appearance in the paintings executed for Jahangir and his successors. During the rule of Muhammad Shah, the typical oval female face emerges and persists in provincial Mughal centers of painting in Oudh- and Deccan. These characteristics are slightly modified in the Bundi paintings of Rajsthan. In Kishangarh, another Rajsthani state, influenced by the Sanskrit ideal of feminine beauty, paintings acquire romantic loveliness. The faces of women become rounded and acquire gentleness and beauty in paintings from Guler and Kangra. Thus the evolution of Indian miniature paintings, which burgeoned in the 11 th century, culminates in the art of the Kangra valley one of the greatest styles in Indian art in which women are willowy and slender and their faces gentle and passionate.
Indian paintings historically revolved around the religious deities and kings. Indian art is a collective term for several different schools of art that existed in the Indian subcontinent. The paintings varied from large frescoes of Ellora to the intricate Mughal miniature paintings to the metal embellished works from the Tanjore school. The paintings from the Gandhar-Taxila are influenced by the Persian works in the west. The eastern style of painting was mostly developed around the Nalanda school of art. The works are mostly inspired by various scenes from Indian mythology.
History : The earliest Indian paintings were the rock paintings of prehistoric times, the petroglyphs as found in places like the Rock Shelters of Bhimbetka, and some of them are older than 5500 BC. Such works continued and after several millennia, in the 7th century, carved pillars of Ajanta, Maharashtra state present a fine example of Indian paintings, and the colors, mostly various shades of red and orange, were derived from minerals.
Ajanta Caves in Maharashtra, India are rock-cut cave monuments dating back to the second century BCE and containing paintings and sculpture considered to be masterpieces of both Buddhist religious art and universal pictorial art.
Indian painting styles :
Miniature painting: In western India from the 16th to 18th century miniature painting developed. These small paintings were part of manuscripts written at the time and illustrate the subjects of the manuscripts. These miniatures are found in some " Jain " manuscripts and are of 2 to 4 inches in size.
Madhubani painting: Madhubani painting is a style of Indian painting, practiced in the Mithila region of Bihar state, India. The origins of Madhubani painting are shrouded in antiquity.
Rajput painting: Rajput painting, a style of Indian painting, evolved and flourished, during the 18th century, in the royal courts of Rajputana, India. Each Rajput kingdom evolved a distinct style, but with certain common features. Rajput paintings depict a number of themes, events of epics like the Ramayana and the Mahabharata, Krishna’s life, beautiful landscapes, and humans. Miniatures were the preferred medium of Rajput painting, but several manuscripts also contain Rajput paintings, and paintings were even done on the walls of palaces, inner chambers of the forts, havelies, particularly, the havelis of Shekhawait.
The colors extracted from certain minerals, plant sources, conch shells, and were even derived by processing precious stones, gold and silver were used. The preparation of desired colors was a lengthy process, sometimes taking weeks. Brushes used were very fine.
Mughal painting: Mughal painting is a particular style of Indian painting, generally confined to illustrations on the book and done in miniatures, and which emerged, developed and took shape during the period of the Mughal Empire 16th -19th centuries).
Tanjore painting: Tanjore painting is an important form of classical South Indian painting native to the town of Tanjore in Tamil Nadu. The art form dates back to the early 9th century, a period dominated by the Chola rulers, who encouraged art and literature. These paintings are known for their elegance, rich colors, and attention to detail. The themes for most of these paintings are Hindu Gods and Goddesses and scenes from Hindu mythology. In modern times, these paintings have become a much sought after souvenir during festive occasions in South India.
The process of making a Tanjore painting involves many stages. The first stage involves the making of the preliminary sketch of the image on the base. The base consists of a cloth pasted over a wooden base. Then chalk powder or zinc oxide is mixed with water-soluble adhesive and applied on the base. To make the base smoother, a mild abrasive is sometimes used. After the drawing is made, decoration of the jewellery and the apparels in the image is done with semi-precious stones. Laces or threads are also used to decorate the jewellery. On top of this, the gold foils are pasted. Finally, dyes are used to add colors to the figures in the paintings.
The Madras School: During British rule in India, the crown found that Madras had some of the most talented and intellectual artistic minds in the world. As the British had also established a huge settlement in and around Madras, Georgetown was chosen to establish an institute that would cater to the artistic expectations of the royals in London. This has come to be known as the Madras School. At first traditional artists were employed to produce exquisite varieties of furniture, metal work, and curios and their work was sent to the royal palaces of the Queen.
Unlike the Bengal School where 'copying' is the norm of teaching, the Madras School flourishes on 'creating' new styles, arguments and trends.
The Bengal School : The Bengal School of Art was an influential style of art that flourished in India during the British Raj in the early 20th century. It was associated with Indian nationalism, but was also promoted and supported by many British arts administrators.
The Bengal School arose as an avant garde and nationalist movement reacting against the academic art styles previously promoted in India, both by Indian artists such as Ravi Varma and in British art schools. Following the widespread influence of Indian spiritual ideas in the West, the British art teacher Ernest Binfield Havel attempted to reform the teaching methods at the Calcutta School of Art by encouraging students to imitate Mughal miniatures. This caused immense controversy, leading to a strike by students and complaints from the local press, including from nationalists who considered it to be a retrogressive move. Havel was supported by the artist Abanindranath Tagore, a nephew of the poet Rabindranath Tagore. Tagore painted a number of works influenced by Mughal art, a style that he and Havel believed to be expressive of India's distinct spiritual qualities, as opposed to the "materialism" of the West. Tagore's best-known painting, Bharat Mata (Mother India), depicted a young woman, portrayed with four arms in the manner of Hindu deities, holding objects symbolic of India's national aspirations. Tagore later attempted to develop links with Japanese artists as part of an aspiration to construct a pan-Asianist model of art.
The Bengal School's influence in India declined with the spread of modernist ideas in the 1920s. In the post-independence period, Indian artists showed more adaptability as they borrowed freely from european styles and amalgamated them freely with the Indian motifs to new forms of art. While artists like Francis Newton Souza and Tyeb Mehta were more western in their approach, there were others like Ganesh Pyne and Maqbool Fida Husain who developed thoroughly indigenous styles of work. Today after the process of liberalization of market in India, the artists are experiencing more exposure to the international art-scene which is helping them in emerging with newer forms of art which were hitherto not seen in India. Jitish Kallat had shot to fame in the late 90s with his paintings which were both modern and beyond the scope of generic definition. However while artists in India in the new century are trying out new styles, themes and metaphors, it would not have been possible to get such quick recognition without the aid of the business houses which are now entering the art field like they had never before.
Modern Indian Painting: During the colonial era, Western influences started to make an impact on Indian art. Some artists developed a style that used Western ideas of composition, perspective and realism to illustrate Indian themes. Others, like Jamini Roy, consciously drew inspiration from folk art.
By the time of Independence in 1947, several schools of art in India provided access to modern techniques and ideas. Galleries were established to showcase these artists. Modern Indian art typically shows the influence of Western styles, but is often inspired by Indian themes and images. Major artists are beginning to gain international recognition, initially among the Indian diaspora, but also among non-Indian audiences.
The Progressive Artist's Group, established shortly after India became independent in 1947, was intended to establish new ways of expressing India in the post-colonial era. The founders were six eminent artists - K. H. Ara, S. K. Bakre, H. A. Gade, M.F. Husain, S.H. Raza and F. N. Souza, Though the group was dissolved in 1956, it was profoundly influential in changing the idiom of Indian art. Almost all India's major artists in the 1950s were associated with the group. Some of those who are well-known today are Bal Chabda, V. S. Gaitonde, Krishen Khanna, Ram Kumar, Tyeb Mehta, and Akbar Padamsee. Other famous painters like Jahar Dasgupta, Prokash Karmakar, and Bijon Choudhuri enriched the art culture of india. They have become the icon of modern Indian art. Art historians like Prof. Rai Anand Krishna have also referred to those works of modern artistes that reflect Indian ethos. Some of the new artists like Geeta Vadhera have had acclaim in translating complex, Indian spiritual themes into the canvas - Sufi thought, Upanishads and the Bhagwad Geeta, for example.
Unlike dance and music where the most charming modes and sweetest strains disappear before they are understood, painting captures the emotions and expressions and retains the impact for a long period. Painting is essentially a combination of lines, forms, colors, tones, texture and space. It attempts to convey the spoken and unspoken expressions with the strokes of a brush.
Painting styles differ from region to region, and from period to period. From primitive times to the period of civilizations, painting has been the visual documentation of man’s thoughts, and experiences. It has illustrated the walls of the caves, temples, and palaces, or dried leaved and cloth in the form of phadas, patachitras and coverlets. Illustrated manuscripts in palm leaf folios in the medieval period were later replaced by paper. The painting of any given region and period provides an insight to the cerebral and cultural sensibilities of the people who executed them. The styles are influenced by the local traditions and cross-cultural interaction.
Like any other country, these factors were true for India too. Besides these, the unique geographical positioning of India, played a significant role in the flowering of distinct regional styles. The multihued painting traditions, which developed like the murals, Chaurapanchasika, miniatures, scroll painting, madhubani, lepakshi, etc contributed to the cultural legacy of India and laid the foundation of successive genres.Ethnicpaintings brings to you the varied
painting styles from the treasure trove of India. They have their distinct painting style, regional and periodic characteristics. Browse through them and experience India in its arts.
Painting as an art form has flourished in India from very early periods as is evident from literary sources and also from the remnants that have been discovered. Numerous paintings or Patas are mentioned in the Mudrakshaka. There are isolated paintings like the Yama-pata; isolated framed drawings like Cauka-patas and the Dighala-patas or long scroll of paintings, representing a complete legend. In another book Vishnudharmottara, the section Chitrasutra describes the basic tenets of painting. According to this treatise, the six limbs of painting are: variety of form, proportion, infusion of emotions, creation of luster and iridescence, portrayal of likeness and colour mixing to produce the effect of modeling. The Vinayapitaka (3-4 century BC) describes the existence of painted figures in many royal buildings.
Paintings and drawings of animals dating back to prehistoric times have been found in the Bhimbetka caves in Madhya Pradesh. The Mesolithic paintings of Narsingarh ( M.P.) show skins of spotted deer left drying which indicate that man has acquired the art of tanning skins for clothing and shelter. In the paintings of these period musical instruments like the harp figure to show that the awareness of creation of sound and the concept of rhythm had appeared. The paintings of the Mesolithic period contain geometric forms like the spiral, square, circle and rhomboid. A painting from Joanna (M.P.) shows a square divided by vertical lines into compartments.
Thousands of years later, paintings appear on the seals of the Harappan Civilization. In the early historic rock paintings the animals are depicted as half human and half animal. In the paintings of the later period, men are depicted as riding on cattle and elephants. Battle scenes, royal processions, men riding garrisoned horses predominate the rock canvas as in Mahadeo Hills, M.P. The Ajanta and Ellora caves and the Bagh caves are excellenct specimens of paintings of the early Christian era.
The Guptas were the great patrons of art and the period 4-6 centuries is often described as the Golden Age of Indian Arts. The Pallavas also left behind excellent examples of paintings in temples. The Cholas promoted both painting and sculpture. The Palas, who ruled the eastern India during 9-16th Centuries A.D. gave immense encouragement to painting. The earliest paintings of this period are on palm leafs and wooden covers of manuscripts. These can be described as the earliest examples of Miniature painting in India.
PRE-HISTORIC BHIMBETKA PAINTINGS: The pre-historic Bhimbetka paintings were executed on quartzite walls of the rock shelters using minerals for pigments, the most common being ochre or geru mixed with lime or water or other medium. The earliest paintings are of Mesolithic times followed by the Chalcolithic and the historic periods. These paintings, done with the help of thin brushes probably made of twigs, show a myriad of animals and human figures, intricate designs, riders, royal procession, hunting and battle scenes. Majority of paintings are in various shades of red and white apart from some paintings in green and yellow colours. In Mesolithic paintings wild animals and human figures are more common. The animals are shown standing, moving, running, grazing or being hunted singly or collectively. The paintings of the historic period overlap the earlier paintings and depict royal processions, battle scenes and men riding garrisoned horses. Conveying dynamism and movement, these paintings specially of animals, are extremely natural in their depiction. The site was also inhabited during the late historical times as is evident from paintings and writings in
CLASSIFICATION OF INDIAN PAINTINGS: Indian Paintings can be broadly classified as the murals and miniatures. Murals are huge works executed on the walls of solid structures, as in the Ajanta Caves and the Kailashnath temple. Miniature paintings are executed on a very small scale on perishable material such as paper and cloth. The Palas of Bengal were the pioneers of miniature painting in India. The art of miniature painting reached its glory during the Mughal period. The tradition of miniature paintings was carried forward by the painters of different Rajasthani schools of painting like the Bundi, Kishangarh, Jaipur, Marwar and Mewar. The Ragamala paintings also belong to this school.
Indian paintings provide an aesthetic continuum that extends from the early civilization to the present day. From being essentially religious in purpose in the beginning, Indian painting has evolved over the years to become a fusion of various cultures and traditions. The Indian painting was exposed to Greco-Roman as well as Iranian and Chinese influences. Cave paintings in different parts of India bear testimony to these influences and a continuous evolution of new idioms is evident. |
