Mewar Painting

Here's a comprehensive summary of the provided Jain text on Mewar Painting by Kuwar Sangram Singh:

Mewar Painting: A Legacy of Bravery and Artistry

This text, "Mewar Painting" by Kuwar Sangram Singh, details the rich artistic heritage of the Mewar region in Rajasthan, highlighting its deep connection with the historical and cultural contributions of the Sisodia Rajput rulers. Mewar, a land known for its chivalry and patriotism, not only defended its religion and sovereignty against invaders but also fostered a strong tradition of arts, literature, and architecture.

Early Period and Western Indian Style:

The early paintings from Mewar (prior to the 17th century) are characterized by the Western Indian Style, also known as the Jain School. This style was prevalent across Gujarat, Mewar, Marwar, and Jaisalmer. Notable early works include the Supasanhachariyam (1423) and illustrations of Geet Govind and Chaurapanchasika (1525-1575 AD).

The Era of Maharana Pratap and Beyond:

The period of Maharana Pratap (1572-1597), though marked by constant struggle against Emperor Akbar, saw the emergence of the Kulladar style. Despite the ruler's focus on warfare, hints of artistic development are present. The text notes the unfortunate absence of contemporary portraits of Maharana Pratap himself, unlike many of his contemporaries at Akbar's court.

His successor, Amar Singh (1597-1620), ushered in an era of peace and closer ties with the Mughals. This allowed for a greater focus on creative pursuits, leading to the painting of a significant Raga-Mala set at Chavanda in 1605, executed in the typical Mewar style by Nirsaradi.

Evolution of Mewar Style:

By the middle of the 17th century, during the reign of Maharana Jagat Singh I (1628-1661), Mewar painting became more sophisticated and began to absorb elements of the Mughal school. The installation of the statue of Srinathji at Nathdwara and the spread of Vaishnava doctrines under Maharana Raj Singhji (1661-1681) led to a surge in illustrated works, particularly of the Bhagwat Purana, Ramayana, Ragamala, and Barah-Masa. The Barah-Masa theme, with its romantic narrative, and the Rasikapriya of Keshavadasa, depicting romantic classifications, became popular subjects.

Key Characteristics of Mid-17th Century Mewar Painting:

• Vibrant Colors: Brilliant hues like lacquered red, saffron, yellow, brown, and lapis lazuli.
• Unique Backgrounds: Paintings could feature two distinct backgrounds, divided by an object.
• Figurative Style: Prominent noses with projecting nose-rings, oval faces with stylized fish-like eyes, and simple depictions of hills and rocks (often pink or mauve). Water was typically painted black with white strokes.
• Profile Views: Faces were predominantly shown in profile with limited perspective.
• Emotional Expression: Emotion was conveyed through colors, surroundings, gestures, and poses rather than facial expressions.
• Folk Art Influence: A strong undercurrent of folk art contributed to the "joie de vivre" of the style.
• Costumes: Round Jama with decorated patkas and turbans (Akbar and Jahangir period), pointed or "Chakdar Jamah" in earlier works. Women wore skirts, cholis, and transparent odhnis. Black pompons and tassels were common.
• Architectural Depiction: Buildings, domes, and arches were simple and pleasing, not overly ornate.
• Themes: Lord Krishna as a romantic hero in Ragamala and Barah-Masa, court life, hunting expeditions, processions, picnics, battles, and marriages.

Later Developments and Decline:

The early 18th century saw a proliferation of paintings, though often at the cost of quality. Patronage extended beyond the rulers to include Thikanadars, business communities, and religious leaders. While artistic output continued, the period between 1652-1698 is noted for a lack of dated material.

Maharana Sangramsingh II was a patron of portraiture, with artists using large canvases and thick colors, even incorporating beetle wings for emeralds. During Maharana Arsi's reign, artists employed unique techniques like using cloth pads dipped in green color to depict grass and bushes. Maharana Bhim Singh (1778-1828) was another significant patron, with works from his court exhibiting good color schemes and composition.

The period of Maharana Jawan Singh (1828-1834) marked the beginning of a deterioration in art quality. The signing of treaties with the British led to a leaning towards European art. Traditional artists faced a decline in royal patronage, struggling to adapt to changing tastes and the introduction of machine-made materials, which impacted technique and finish.

Nathdwara emerged as another important painting center, but after 1850, it took a commercial turn, leading to a decline in artistic quality, despite the presence of talent.

Regional Variations and Collections:

The paintings from Pratapgarh, Deogarh, and Shahpura exhibited slight stylistic differences from the Udaipur style. Notable artists like Kripa Ram from Pratapgarh and patrons like Ragho Das and Gokul Das from Deogarh are mentioned. Shahpura artists were recognized for their depictions of elephants and literary themes.

The text concludes by listing extensive Important Sets & Collections, including those at the Saraswati Bhandar (Udaipur), Udaipur Museum, Umed Bhawan Collection (Jodhpur), National Museum of India (New Delhi), Bharat Kala Bhawan (Varanasi), Motichand Khazanchi (Bikaner), and Kumar Sangram Singh Collection (Jaipur). It also lists key patrons (rulers and Jagirdars) and significant Maharanas of Mewar, along with their respective reign periods, providing a comprehensive overview of the historical and artistic landscape of Mewar painting.