Miniature Paintings of Central India

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Central India, which since Vedic days excelled in her achievements in the fields of literature, performing arts, sculpture, architecture, music, education and religious pursuits, was not far behind them in painting. In both, murals and miniatures, Central India was one of the early debutantes. The 5th-6th century murals at Bagh caves defined her Ajanta-like elaborate and magnificent mural tradition and her Mandu Kalpa-Sutra illustrations the initial phase of the miniature art in India. It is widely acclaimed that such illustrated Jain manuscripts of the Kalpa-Sutra were in existence in the region as early as the 11th-12th  century. The illustrated Mandu (Madhya Pradesh) Kalpa-Sutra of 1439 A.D. is the earliest known example of the dated miniatures in India. There evolved from the Jain Kalpa-Sutra paintings of Mandu most of the miniature styles of Rajasthan and from Mandu's illustrated Niyamat-nama of 1505, the subsequent Islamic art style in India.

 

Paintings of Central India - Jain monk preaching to a king, Jain style, circa 1500-25 A.D., National Museum, New Delhi

Jain monk preaching to a king,  Jain style,

circa 1500-25 A.D.,

National Museum, New Delhi

 

Malwa pioneered the art of miniature painting in Central India. Mandu is its earliest seat and the Mandu Kalpa-Sutra illustrations the earliest examples of its miniature paintings. Large protruding eyes, angular faces, men and women of moderate height, abundance of motifs and profusion of gold characterise these Kalpa-Sutra paintings. The Malwa art­style had its other centres at Dhar, Ujjain, Narsinghpur and Narsinghgarh. Malwa inclined to narrative rendering of its themes. The Mandu Ragamala and Ramayana illustrations of 1634 A.D. not only depict the initial style of Indian miniature painting but are also excellent in execution, draughtsmanship, colour-scheme and stylistic merit. Malwa has rendered the legends of Bhagavata-Purana and the known Sanskrit love-lore of Amru-Shataka with great thematic thrust, accuracy of details and great elaboration. A small canvas often compartmentalised, each compartment housing one episode independently, bright basic colours, blend of folk elements and highly charged faces are the other attributes of Malwa miniatures.

 

Paintings of Central India - Rama & golden deer Maricha, Malwa, circa 1634-40 A.D., National Museum, New Delhi Paintings of Central India - Rama & Sita in the Hermitage of sage Atri & Anasuya, Malwa, circa 1660 A.D., National Museum, New Delhi

Rama & golden deer Maricha, Malwa,

circa 1634-40 A.D.,

National Museum, New Delhi

Rama & Sita in the Hermitage of sage Atri & Anasuya, Malwa,

circa 1660 A.D.,

National Museum, New Delhi

 

Paintings of Central India - Krishna worsipping Mount Govardhan, Malwa circa 1640-50 A.D., National Museum, New Delhi Paintings of Central India - Krishna stealing butter and other Krishnalila scenes, Malwa, circa 1680 A.D., National Museum, New Delhi

Krishna worshipping Mount Govardhan, Malwa,

circa 1640-50 A.D.,

National Museum, New Delhi

Krishna stealing butter and other Krishnalila scenes, Malwa,

circa 1680 A.D.,

National Museum, New Delhi

 

Paintings of Central India - Manini Nayika, Malwa, circa 1634-40, National Museum, New Delhi Paintings of Central India - Quarrelsome Heroine (Artist: Sukhdeva), Malwa, circa 1660 A.D. National Museum, New Delhi

Manini Nayika,

Malwa, circa 1634-40,

National Museum, New Delhi

Paintings of Quarrelsome Heroine,

(Artist: Sukhdeva), Malwa, circa 1660 A.D.

National Museum, New Delhi

There developed at Orchha-Datia in Bundelkhand and Raghogarh in Malwa two other Central Indian art styles. Orchha initiated as frescos, the art of painting in the middle of the 16th century. With unique vividness of theme, minuteness of details, fine line-work and maturity of form these frescos greatly influenced the subsequent art-styles of Orchha-Datia. Despite that there evolved at Tikamgarh, Dhubela, Panna and Chhatarpur some other centres of art, it were primary the miniatures from Datia that defined the Bundela art-style. Datia is known for its excellent and elaborate illustrations of the Ramayana, Mahabharata, Bhagavata Purana and legends from other Puranas. The bulk of portrait-painting from Datia is large and magnificent. The art-world and the art-style of Datia stand in artistic merit at par with any of the major art-styles of Indian miniature painting. A comparatively larger rectangular canvas, profusion of deep blue and black colours, narrative quality, elaborate details and simple unadorned borders define the art-style of Datia.

 

Paintings of Central India - Raja Shatrujit Ju Dev of Datia, circa 1780 A.D., National Museum, New Delhi

Paintings of Central India - Celebration of Krishna's Birth, Datia, circa 1780 A.D.,  National Museum, New Delhi

Raja Shatrujit Ju Dev of Datia, Datia,

circa 1780 A.D.,

National Museum, New Delhi

Celebration of Krishna's Birth, Datia,

circa 1780 A.D.,

National Museum, New Delhi

 

Paintings of Central India - Rama applying Tilak to Hanuman, Datia, circa 1800 A.D., National Museum, New Delhi

Rama applying Tilak to Hanuman, Datia,

circa 1800 A.D.,

National Museum, New Delhi

Sukhdev narrating the story of Krishna to Raja Parikshit, Datia,

circa 1800 A.D.,

National Museum, New Delhi

 

The Raghogarh dynasty had relations with Rajasthani royalty. Obviously, Raghogarh had its inspiration for art from Rajasthan. Raghogarh, however, developed its own different art-idiom and attained a distinction in art-style. The larger chunk of Raghogarh miniatures consists of portrait painting. They are highly versatile in their style of rendering. Obviously, there must have been a considerably large number of painters working under the state patronage. Raghogarh artists portrayed not only royal personages, the princes and princesses, but also their horses and other pets and the distinguished guests visiting Raghogarh. Conventional themes like Ragamala, legends of love like Usha-Aniruddha, myths and legends from the Bhagavata Purana and historical events have been largely rendered at Raghogarh. Sirnple borders in red ochre, static horses, their hooves and lower legs rendered in red ochre, robust male and comparatively simple and plain costumes are distinctive features of Raghogarh art.

 

Paintings of Central India - Raja Dhiraj of Raghogarh, circa 1720 A.D., National Museum, New Delhi

Raja Dhiraj of Raghogarh and Kunwar Gaj Raj, Raghogarh,

circa 1720 A.D.,

National Museum, New Delhi

 

 

Paintings of Central India - Goddess Durga slaying demons, Raghogarh, circa 1750 A.D., National Museum, New Delhi Paintings of Central India - Hero removing thorn from the foot of a heroine, Raghogarh, circa 1770 A.D., National Museum, New Delhi

Goddess Durga slaying demons, Raghogarh,

circa 1750 A.D.,

National Museum, New Delhi

Hero removing thorn from the foot of a heroine, Raghogarh,

circa 1770 A.D.,

National Museum, New Delhi

 

Malwa, Orchha-Datia and Raghogarh, with their long traditions of painting, stylistic distinction, choice of themes and massive number of painted works, represent independent, fully developed and excellent art-styles. Ironically, Malwa is considered as one of the sub-styles of Rajasthan, whereas all major art-styles of Rajasthan are born of the Mandu art-style manifested in its Kalpa-Sutra paintings. Alike, a larger bulk of Indian miniatures is based on the poetry of Rasikapriya by Keshavadas, the eminent medieval court poet of Orchha, but, despite its massive excellent art, Orchha - Datia crave for the status of an independent art-school.

 Dr. Daljeet and Rajeshwari Shah

 (Source: Gallery Sheets of Indian Miniature paintings published by the National Museum. New Delhi)

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