The Kishangarh school of Miniature paintings emerged from the amalgamation of the rich cultural heritage of western India and the intricate Mughal miniature painting traditions. The term ‘Rajasthani miniatures’ coined by Anand Coomaraswamy in 1916 aimed to distinguish the paintings from the Mughal miniature painting traditions. Originally encompassing the kingdoms of Malwa and the Pahari region, the term is now commonly used to describe the paintings solely from the region of Rajasthan. It includes the sub-schools of Bikaner, Bundi, Kota, Kishangarh, Marwar, Mewar and Jaipur. Each school showcases distinct compositions, execution styles, figure depictions, architectural nuances, modes of narration, and preferences for naturalism or mannerism.
The town of Kishangarh was founded in c. 1609 by Kishan Singh, the eighth son of Raja Udai Singh of Jodhpur. The earliest painting from the kingdom dates back to 1694, suggesting a royal workshop was in place. Famous master artists from the Mughal ateliers, such as Bhavanidas were patronised by Raj Singh, taking the Kishangarh school to new heights. .
The Kishangarh school of miniature paintings emerged as one of the most stylised and visually distinct traditions within the rich cultural traditions of the Rajasthani schools. Characterized by a unique facial type, the paintings from this school are a visual marvel, capturing the essence of artistic finesse.
In the mid- 17th century, Kishangarh had developed a unique artistic tradition under the patronage of Raja Man Singh. Under the reign of Raj Singh, the Kishangarh paintings underwent a transformative evolution, adopting distinctive characteristics that set them apart. Notable amongst these are a lavish use of green hues, and a penchant for depicting panoramic landscapes.
Sacred Serenity: Radha and Krishna's Eternal Embrace, Kishangarh art by Shehzaad Ali Sherani
During the reign of Sawant Singh, Nihal Chand emerged as one of the most prominent artists of the Kishangarh school. His contributions played a pivotal role in shaping the artistic landscape of the school, leaving an indelible mark on its stylistic identity. It was during this period that the distinctive features of elongated human faces in profile, receding foreheads, sharp noses and chins, and arched eyebrows became the hallmark of the paintings. These features contributed to the school’s mastery in capturing the essence of divine tales with an artistic finesse.
A Tapestry of Harmony and Beauty in Kishangarh Painting by Shehzaad Ali Sherani
The Kishangarh school found profound inspiration in the stories from the life of Shri Krishna, becoming one of its most famous and recurrent themes. The depictions of these narratives showcase the school’s mastery in capturing the essence of divine tales in an artistic manner. Beyond the enchanting tales of Shri Krishna, the Kishangarh paintings also embraced other themes, including hunting expeditions, court scenes, and portraiture. Each theme became an avenue for the artists to showcase their distinct stylistic nuances and creative expression.
The Abode of Love in Kishangarh Style of Painting by Shehzaad Ali Sherani
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References:
- Comaraswamy, Ananda (1976). Rajput painting. Delhi: Motilal Banarsidass
- Chaitanya, Krishna (1982). A history of Indian painting – Rajasthani traditions. New Delhi: Abhinav Publications.
