1 / 11

Indian Painting B.A. II

Indian Painting B.A. II. Dr. O. P. Parameswaran, Assistant Professor, Department of Fine Arts, Post Graduate Govt. College for Girls, Sector-11, Chandigarh. Unit-1: History of Indian Painting (BA-3). 1. Rajasthani Painting:

ehungerford
Download Presentation

Indian Painting B.A. II

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Indian PaintingB.A. II Dr. O. P. Parameswaran, Assistant Professor, Department of Fine Arts, Post Graduate Govt. College for Girls, Sector-11, Chandigarh.

  2. Unit-1: History of Indian Painting (BA-3) • 1. Rajasthani Painting: • 1.1:- 1605 Chavant Ragamala from Mewar

  3. 1605 Chavant Ragamala from Mewar • Introduction: • The Chavant Ragamala of 1605 is considered to be the earliest dated example of Mewar paintings in Rajasthan. • This Ragamala series was painted by the artist Nisaradi. • Chavant is a small town in the south west of Udaipur. • It was inhabited by the aboriginal Bhils and Rana Pratap had withdrawn there after a disaster of Haldighat.

  4. 1605 Chavant Ragamala from Mewar • Ragamala paintings: • Ragamala means garland of melody or mode. • It refers to a particular type of miniature painting in which poems dealing with musical sentiment are illustrated by representation of specific human situations. • Through the verbal imagery of a poem, the content of the musical form (raga) was made more exact, and the painting in turn made this imagery visible.

  5. 1605 Chavant Ragamala from Mewar • A Raga, the classical Indian musical mode, literally means something that colour, which fills the mind with a definite feeling, passion, or emotion. • These paintings were created in the albums containing most after 30 or 40 follies organized in a system of families. • Each family is headed by Raga (male) contains 5 or 6 Raginis (wives), sometimes also Ragputras (sons) even Ragputries (daughters) and wives of son’s.

  6. Each raga is further associated with a particular season and time of day. One speaks of a raga as being either ‘morning’ or ‘evening’ raga. To perform one at an inappropriate time is thought to be not only unaesthetic but also hazardous. • Ragamala paintings are unique in the world of art. It is only in Indian that painting poetry and music come together in such a unified and interdependent grouping.

  7. 1605 Chavant Ragamala from Mewar • Painting:Deepak Raga • The style of Chavant Ragamala series is unmistakenbly related to Churapanchasika group especially to the Geeta Govinda & Bhagvat Purana series. • The ‘Deepak Raga’ of the Chavant series (G.K Kanuria collection Calcutta) is essentially a 2 dimensional composition filled in with a flat area of color mainly red, yellow, and black.

  8. 1605 Chavant Ragamala from Mewar • The red background, Central Indian tradition symbolizes passion. • The sky and landscape are also conventionally treated. • The pavilion on the right is in strict frontal view with no attempt at perspective. • A man and women, seated to the left, listen to music played by a figure sitting on an extreme left. • The facial feature resembles the Chaurapanchasika style. • The stark simplicity of detail undoubtedly results from the unsettled condition of Mewar ruler at this time. • A rustic vigour apparent in the treatment of the figures foretells a period of maturity in the near future.

  9. 1605 Chavant Ragamala from Mewar • The Ragas or ‘heads of the families’ Bhairava, Malavakausa, Hindola, Dipaka, and Megha and Sri have fairly consistent iconography. • They are as an Ebeling has noted, ‘strong image makers’: • always ‘Dipak’ (lamp), is a princely couple with a lamp, • ‘Hindola’ (swing) involves person or that ever-present article of Indian furniture, • ‘Megha’ (cloud) a rainy season of rejoicing. • The ‘Ragini Vasant’ (spring) is invariably represented by archreveller Krishna dancing.

  10. 1605 Chavant Ragamala from Mewar • ‘Kakubha Ragini’ with a vague dhyana which does not mentioned them, nearly always shows a women between peacocks , holding a garland or two; • ‘Kamod raginis’, on the other hand has, a confusing number of totally unrelated iconographies. • ‘Nata’ and ‘Desakhya’, in spite of their feminine designation are represented by men in combats or by acrobats

  11. 1605 Chavant Ragamala from Mewar • Gradually the Mewar paintings transformed from a primitive folk style into a sophisticated art. • Sahibdin was a major artist in the later period. • However, by a beginning of the 18th century the style degenerated to routine coping consequently lacked the charming quality of the previous century.

More Related