Female Attire in Miniature Painting (With Special Reference of Rajasthan)

About the Book This work an English translation of Ph.D. work of Dr. Shalini bharti entitled "Rajasthani laghu citron mein nari vastrabhushan rupankan" The book traces the development of rajasthani miniature in general. Tradition of female costumes and ornaments is the main theme of the work. Rajasthani miniatures of various schools beautifully project the ornamentation in the female subjects Dr Bharti has underlined the development of female costumes and ornaments during the ages. Foreign and inter-regional influences over the ornamentation is also discussed. An extensive series of plates at the end of the book enhances the value of the work. The book hopefully will enhance a general understanding about the culture of Rajasthan.

About the Author Dr. Shalini Bharti passed her graduation in 1989 from Sri Satya College, Jaipur where she achieved national scholarship for her meritorious academic career.

She completed her post graduation in 1991 from Department of fine Arts, University of Rajasthan, Jaipur. She was awarded Ph.D. for her work Rajasthani Laghu Chitron Mein Nari 'Vastrabhushan Rupankan' under Dr. Kamla Garg in 1995. She was selected as a Lecturer by R.P.S.C. in 1995. At present she is posted in Government College, Kota.

Dr. Bharti has to her credit many awards. Her paintings were selected for participation in Kala Mela Rajasthan Lalit Kala Academy and various events of Art. Her research articles have been published variously III different research journals.

Preface The superlative form of culture of Rajasthan has been an inspiration for the artists. All the forms of arts flourished here with equal aplomb as anywhere else, despite adverse nature and turbulent politics. Among the fine arts, miniature painting acquires a special place. Inspired variously by tradition, influence, nature, region and personal tastes, it added to the richness of Indian painting as a whole.

The present work is reflection of my thoughts and feelings experienced over several years as a student and researcher in miniature paintings of Rajasthan. Though female form in miniature paintings were studied by various scholars time to time in different dimensions but there has been no specific study done on this aspect of decorative significance or attire of female forms in miniature paintings.

While working on the theme, I have significantly discussed the various views of earlier scholars, friends and have come to the conclusion that there is enough scope about female attire in Rajasthani miniature paintings.

This work under the present title was taken up on the table advice of my guide Dr. Kamla Garg long back. It based on my researches done in the University of Rajasthan. The work is an attempt to trace the development of miniature painting in Rajasthan in general and its sub-forms in particular. It also attempts to capture the inspiration behind the imagination which led to variations in portraying the clothes and ornaments in miniatures. Numerous trends of the day and region are thus processed. Foremost, I thank my guide Dr. Kamla Garg without whose consistent steering I would have lost my way.

I have been fortunate enough to receive guidance from many learned persons of the field. Padmashri Ram Gopal Vijaivargiya, Late Shri Kripal Singh Shekhawat, Dr. Jai Singh Niraj, Shri Shravan Kumar, Dr. Chandramani Singh, Dr. Neelima Vashishtha, Dr. Jaya Chakra borty and Dr. LU. Khan have been kind enough to guide my way. It was indeed my honor and fortune to have witnessed the personal collection of Late Shri Kumar Sangram Singh and received his blessings personally.

I thank my in-laws, my parents, my husband Dr. Roshan Bharti and my children who inspired me to take up the work after 15 years. I shall be failing in my duty if I do not mention the name of my colleague Dr. Nidhi Sharma lecturer, History Department, Government College, Kota who took lot of pains to give this work a final shape, tirelessly translated this work and brought it out in book form. I thank her with all my heart. I also thank my colleague Dr.G.K.Sukhwallecturer, English Department Government College, Nathdwara and Mr. Sachin Srivastava who were considerate enough to go through the final draft in spite of his busy schedule.

My thanks are also due to Mr. Nafees and Mr. Devendra Gautam for typing this work in a better way.

My publisher "Literary Circle" completed his task in a record time for which he is to be appreciated.

Introduction Now that the roots of miniature painting in Rajasthan are quite well known, all the claims of its foreign origin stand vindicated today. The art developed locally and progressed along with several foreign influences.

But this is what keeps an art alive and flourishing. Unity, harmony, balance, rhythm and proportion characterize Rajasthani miniatures. They were 'heroic, popular and universal'. Colors were filled in a classical manner with a grace which resulted in luster, depth, richness and transparency. The history of clothes and ornaments can be traced back to ancient India where cloth weaving and manufacturing ornaments were a flourishing art. They reflected the culture as well as the social structure of the society. The finer forms of art like painting too reflected the journey of the clothes and ornaments.

Women have dominated the art world as a subject. Rajasthan, being a traditional society, has portrayed women in multiple forms of dresses and ornaments to bring to surface her charm and beauty. It is in fact, difficult to imagine that a warring region like Rajasthan would ever have leisure or inclination for a delicate art like miniature. Their history of inter-state feuds, conflict and cooperation with Muslims and the Mughal and subordination of the British leave not enough space for cultivation of miniatures. Geographically the area is not too suitable. It consists of desert area, mountainous terrain, eastef! 1 plains and southern plateau.

Geographically so diverse, the society and its traditions have their own variations. What however binds them together is their racial pride and the common tradition of chivalry.

Political upheavals had their own impact on society resulting into changes in dress and ornaments, so aptly reflected in art forms. Dresses of the commoners, aristocrats and the kings reflect the changes. The indigenous clothing styles like paga, pagdi, lehanga. odhani were now combined with chudidar pajama, serwani, birjis along with Sari and long blouses for women. The multiple festivities of Rajasthan provide a window to watch and analyze the subtle changes which accompanied the journey from ancient to present times.

It is also to be well understood that various regional kingdoms created their own styles in architecture, music, painting and so on. So while they do share some common subjects of painting like Barahmasa, Ragamala, nayak-nayika, the details differ.

Miniature painting and its progress is mainly the outcome of royal patronage of various royal houses.

Comments Karl J. Khandelwala in his Foreword to ' The Rajput Painting', Indian miniature has never been an art of the people for we know that its patronage and possession was by far and large, though with certain noble exceptions, the preserve of the Hindu feudal aristocracy, Muslim sultans and the governors of the Mughal court and-its grandeur." With the establishment of various centers of regional power, the art found its patrons. Development of sub styles followed and by 17th and 18th century every thikana had its atelier of painters. Kishangarh paintings are a classical example of indigenous art. Discovered almost accidently, the style represented the indigenous genius, environment and character of the region and her patron. The oldest of all the school was the Mewar school which underwent major changes during its journey. The other schools of Marwar, Dhundhar and Hadoti extended their influences to their respective regions. Their association with the central sovereign power too influenced the style and fashion of the day. The themes painted, no doubt, were borrowed and amalgamated but Rajasthan displayed her richness and aesthetics in building up some of the most extraordinary themes inspired by literature, religion and folk culture. The paintings were almost lyrically represented.

Most of the miniatures centered on women. The dresses and ornaments displayed are a matter of great interest. Every region had its own version of the ordinary and common dresses worn by the womenfolk. - The jeweler (jewelry) exhibited may register a repetition but the form, owner and ornamentation differed.

Women of various strata of society displayed variation not only in dress and ornaments but also in the colors employed to paint them. The Mughal influence on these factors is too clear. The Arsha Ramayana portrays Sita in Mewari dress with Mogul features. Regional identities were thus maintained with a sprinkling of foreign influences, here and there. The colors used are also a major part of the study. The centers almost dug down their local sources of colors which created impact beyond comparison. Availability of these local sources turned the miniatures into a unique composition. The artists gradually experimented with color schemes, in contrasts and combinations. Use of light and shade reflected the refinement of the art. The journey of the aesthetics of Rajasthani miniatures is yet to be analyzed. Initially inspired by the folk art, it gathered its threads from the Jain paintings, Ajanta art, Mughal paintings and so on. The art developed from basic to complex. Elementary. Earthly musings were now beyond the mundane. Philosophical, literary and spiritual ponderings took over which sublimed the otherwise obvious material reflections. Radha-Krsna and Raga-Ragini series represent these advances.

The art finds itself in lower ebb today. The royal patronage has faded away. Commercialization has taken away its depth and emotions. .Some traditional houses and 'ustads' are still struggling to keep it alive.

Miniature is an art that has kept history alive and running. This vouches for its significance.

Book's Contents and Sample Pages