Tales of Love in Rajasthani Paintings

Preface Present study is based on illustrated texts of 18th-19th century Rajasthan. Those. were the days, when modern modes of entertainment-radio, cinema and television were not known? People spent their evenings listening stories-popularly called Bat. Subjects of bats were taken from life, featuring love and velour; these stories became very popular in society especially among middle class. Bats were narrated aurally, without any help of written document. But as time went on, some of these were written down and selected few were illustrated also. Over the centuries, thousands of them were accumulated and found their way to private and public collections.

This study is limited to the texts based on love. illustrated folios of Gita -Govinda and Veli Krishna Rukmini represent immortal lovers Radha and Krishna while Phoolji Phoolmati bat, Madhavanala-Kamakandala and Madhu Malati depict themes taken from contemporary life.

Love is the supreme fact of life. It provides the urge to procreate and maintain the species. It is concealed like lighting in a cloud, and in its glow is the birth of art literature and science. The liberation in the supreme experience of lovers as well as mystics. That is why in describing the union of God and soul, the extremely-beautiful imagery of lover and beloved was presented by the Vaishnava Poets.

Though not a court art these illustrated texts present social and cultural life of that period, in colorful manner.

Pictures are highly appealing in design, form and color scheme. Archaic figures are simply fascinating.

Through these pictures we meet an incredible variety of gods, men and women whose legends and lives are very alluring.

Another essential appeal of these small pictures is the spirit in which most of them are painted, a compelling innocence that transcends their colors, shapes, or often miraculous technique. To a world troubled by guilt’s and frustrations they bring freshness.

During the preparation of this book, I received valuable suggestions and help from every corner. Authorities of National Museum, New Delhi; Prince of Wales Museum, Mumbai; Pratap Sangrahalaya (Govt. Museum), Udaipur; Rajasthan Oriental Research Institute, Jodhpur and its branch offices at Udaipur and Jaipur, Sahitya Shodh Sansthan, Rajasthan Vidya Peeth, and Saraswati Pustak Mandir, Udaipur, Rajasthani Shodh Sansthan, Chaupasani, Jodhpur deserve special thanks who very kindly permitted me to see their collections and use them for this publication. Collections are acknowledged at respective places. I am grateful to Dr. (Mrs.) Chandramani Singh and Dr. M.K. Sharma 'Sumahendra' for their guidance and support at every step. I am thankful to Jawahar Kala Kendra for their generous grant which enabled me to get this work published. Dr. P.M. Lakhotia should be thanked for his contribution in this book. Sri Siya Sharan Natani of Publication Scheme needs special mention, which got the work completed in time.

In the end I must express my gratitude to my wife Smt. Madhuri Sharma Pancholi and Children for their support and patience.

Book's Contents and Sample Pages