Mewar Painting

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Mewar Painting: A Legacy of Bravery and Art

The text, "Mewar Painting" by Kumar Sangramsingh, explores the rich artistic heritage of the Mewar region, intrinsically linked to its history of Rajput chivalry and resilience. Mewar, the land of the Sisodia Rajputs, is celebrated not only for its warriors who defended their religion and sovereignty against invaders but also for its rulers and people who were ardent patrons of arts, literature, and architecture. This patronage significantly contributed to India's cultural landscape.

Early Influences and the Western Indian Style:

Geographically, Mewar's hilly terrain, forests, and lakes provided a natural defense and a fertile land, allowing artists to continue their creative pursuits even during turbulent times. Early paintings from Mewar (up to the period of Maharana Udai Singh) are categorized as belonging to the Western Indian Style (Jain School). This style was prevalent across Gujarat, Mewar, Marwar, Jaisalmer, and other regions. Notable early works from Mewar include the Supasanaha Chariyam (dated 1423) and illustrations of Geet Govind and Chaur Panchacika (dating between 1525 and 1575 AD).

The Era of Maharana Pratap and the Emergence of a Distinct Style:

Maharana Pratap's reign (1572-1597) was marked by fierce resistance against the Mughal Emperor Akbar. Though his focus was on defending his land, traces of the Kulladar style (circa 1575-1580) can be found. Unfortunately, no contemporary portraits of Maharana Pratap have survived, a stark contrast to the numerous portraits of his contemporaries at Akbar's court.

The Influence of Mughal Peace and the Development of Mewar Style:

Maharana Pratap's successor, Amar Singh (1597-1620), was compelled to accept Mughal sovereignty, bringing peace to Mewar. This period of tranquility allowed for a shift in focus from warfare to artistic pursuits. A significant development was the painting of a Raga-Mala set at Chavanda in 1605, considered a foundational piece in the typical Mewar style. This style later influenced neighboring regions like Banswara, Partapgarh, Dungarpur, Kushalgarh, and Shahpura, as well as some schools in Gujarat and Bundi. By the early 17th century, Mewar had evolved its own distinctive style, moving away from the Western Indian tradition.

Key Characteristics and Themes of Mewar Painting:

The text highlights several defining characteristics of Mewar painting:

• Vibrant Colors: Painters utilized bright and luminous colors such as lacquered red, saffron, yellow, brown, and lapis lazuli.
• Simple Depiction: Subjects were depicted in a relatively simple manner, prioritizing the "joie de vivre" of folk art over meticulous draughtsmanship or perspective in its early stages.
• Stylized Figures: Figures often have prominent noses with nose-rings that project outwards. Faces are oval with stylized, fish-like eyes, yet remain recognizable.
• Landscape Elements: Hills and rocks are rendered simply, often in pink or mauve. Water is typically depicted in black with white strokes for waves and foam.
• Focus on Narrative: The main incident in a painting received greater emphasis. Emotions were conveyed through colors, surroundings, and gestures rather than explicit facial expressions.
• Costume: Figures are shown wearing round Jama with decorated patkas and turbans (Akbar and Jahangir periods), or the earlier pointed chakdar jama. Women's attire includes skirts, cholis, and transparent odhnis. Black pompons and tassels were common on arms and wrists.
• Themes: Popular themes included:
  • Lord Krishna: Depicted as a lover and romantic hero in works like Ragamala and Barah Masa.
  • Barah Masa (Twelve Months): Romantic tales often focusing on a hero's departure and a heroine's attempts to keep him home, with festivals and seasons playing a significant role.
  • Rasikapriya of Keshavadasa: Depicting classifications of heroes and heroines, their relationships, separations, and reunions.
  • Gita Govinda of Jaideva: Illustrating the love of Radha and Krishna, further popularized by Maharana Kumbha's commentaries.
  • Court Life: Scenes of love affairs, hunting expeditions, processions, gatherings (maffils), picnics, battles, and marriages, offering insights into Mewar's social life.

Evolution and Sophistication of the Art:

By the mid-17th century, during the reign of Maharana Jagat Singh I, Mewar painting became more sophisticated, incorporating elements of the Mughal school. The period of Maharana Raj Singhji (1661-1681) saw the installation of Srinathji at Nathdwara and the spread of Vaishnavism, leading to numerous illustrated Bhagwats and depictions of Ramayana, Ragamala, and Barah Masa.

Later Periods and Decline:

The 18th century saw an increase in the popularity of paintings, but the quality sometimes suffered due to a focus on quantity. While rulers like Maharana Sangramsingh II and Jagat Singh II continued to patronize art, the period between 1762 and 1760 saw a decline in patronage. Maharana Arsi's reign brought renewed patronage, with artists experimenting with techniques like using cloth pads for depicting foliage.

During Maharana Bhim Singh's time (1778-1828), the art flourished again with large-sized paintings, good color schemes, and compositions. However, by the period of Maharana Jawan Singh (1828-1834), a deterioration in quality began, partly attributed to the influence of European art. Traditional artists, facing changing tastes and the adoption of new techniques and materials (machine-made papers, brushes, pigments), struggled to maintain their artistic standards.

Impact of Modernization and End of Patronage:

The introduction of European art, lithographs, etchings, and oil paintings influenced the taste of the ruling class. Traditional artists lost royal patronage, except for religious works, and their livelihood was impacted. The decline continued through the reigns of Swaroop Singh and Shambhusinh, with paintings confined to hunting scenes and court life. Royal patronage ceased with the achievement of independence in 1947 and the merger of states. Artists were displaced and forced to pursue different professions.

Other Centers and Collections:

The text also mentions Nathdwara as another important center of painting, although after 1850, it adopted a commercial leaning that affected the art. Paintings from Partapgarh, Deogarh, and Shahpura are noted for their slightly different styles. The collection includes detailed lists of illustrated manuscripts and collections at various institutions like 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), highlighting the extensive artistic output of Mewar.

In essence, "Mewar Painting" traces the evolution of this art form from its early Western Indian influences through its golden age of distinct style and thematic richness, to its eventual decline under the impact of changing socio-political landscapes and foreign influences, all while celebrating the enduring spirit of Mewar and its artistic legacy.