Rajasthani Painting

Rajput painting, also called Rajasthani painting, evolved and flourished in the royal courts of Rajputana in India. Each Rajputana kingdom evolved a distinct style, but with certain common features. Rajput paintings depict a number of themes, events of epics like the Ramayana. Miniatures in manuscripts or single sheets to be kept in albums were the preferred medium of Rajput painting, but many paintings were done on the walls of palaces, inner chambers of the forts, havelis, particularly, the havelis of Shekhawati, the forts and palaces built by Shekhawat Rajputs.

The colours were extracted from certain minerals, plant sources, conch shells, and were even derived by processing precious stones. Gold and silver were used. The preparation of desired colours was a lengthy process, sometimes taking weeks. Brushes used were very fine.

While there exist a plethora of themes in Rajput paintings, a common motif found throughout Rajput works is the purposeful manipulation of space. In particular, the inclusion of fuller spaces is meant to emphasize the lack of boundaries and inseparability of characters and landscapes. In this way, the individuality of physical characters is almost rejected, allowing both the depicted backgrounds and human figures to be equally expressive.

Outside of a purely artistic standpoint, Rajput paintings were often politically charged and commented on social values of the time. Mewar's rulers wanted these painting to portray their ambitions and establish their legacy. Therefore, paintings were often indicative of a ruler's legacy or their changes made to better society.

Both of these factors clearly distinguish Rajput paintings from Mughal works. While, from a chronological standpoint, both of these cultures clashed with one another, Rajput paintings only superficially adopted Mughal fashion and cultural standards. Elements, such as distinct portraiture, utilized by popular Mughal artists (Govardhan, Hashim, etc.) are not found in Rajput works. Likewise, Rajput techniques are not predominantly seen in Mughal paintings.

"At the opening of the eighteenth century, therefore, Rajput painting remains recognizably different in intent from traditional Mughal attitudes" (Beach 175).

In the last decades of the 16th Century Rajput art schools began to develop distinctive styles combining indigenous as well as foreign influences (Persian, Mughal, Chinese, European) into unique styles. Rajasthani painting consists of four principal schools that have within them several artistic styles and substyles that can be traced to the various princely states that patronised these artists. The four principal schools are as follows:

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