RAJASTHANI PAINTING

the style of miniature painting that developed mainly in the independent Hindu states of Rajasthan in western India in the 16th19th century. It evolved from Western Indian manuscript illustrations, though Mughal influence became evident in the later years of its development. Rajasthani painting differs from the Mughal painting of the imperial ateliers at Delhi and the provincial courts in its bolder use of colour, an abstract and conventionalized conception of the human figure, and an ornamental treatment of landscape. In keeping with the new wave of popular devotionalism within Hinduism, the subjects principally depicted are the legends of the Hindu cowherd god Krishna and his favourite companion, Radha. To a lesser extent there are illustrated scenes from the two major epics of India, the musical modes (ragamalas), and the types of heroines (nayikas). In the 18th century, court portraits, court scenes, and hunting scenes became increasingly common. Like Mughal art, Rajasthani paintings were meant to be kept in boxes or albums and to be viewed by passing from hand to hand. The technique is similar to that of Mughal painting, though the materials are not as refined and sumptuous. The study of Rajasthani painting is comparatively young, and new material is continually being uncovered. Distinct schools have been separated out on the basis of style, such as Mewar painting, Bundi painting (qq.v.) and that of its neighbouring sister state of Kotah, Kishangarh painting (q.v.), Bikaner, Jaipur, Marwar, and, outside Rajasthan proper, Malwa painting (q.v.), also referred to as Central Indian painting.