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Indian Painting
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Performing Arts
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Architecture and Sculpture
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Chapter 1: Indian Painting
Chapter Test2 topics•Estimated reading: 6 minutes
Indian Painting: From Rock Shelters to Modern Art
Key Point
Indian painting spans more than ten thousand years—from prehistoric rock paintings at Bhimbetka to the Buddhist murals of Ajanta, palm-leaf manuscripts, the Mughal, Rajput, Pahari and Deccani miniatures, colonial Company paintings, Raja Ravi Varma, the nationalist Bengal School and the modernists of the Progressive Artists' Group. The interplay of court patronage and regional idioms is a recurring Mains theme.
Indian painting spans more than ten thousand years—from prehistoric rock paintings at Bhimbetka to the Buddhist murals of Ajanta, palm-leaf manuscripts, the Mughal, Rajput, Pahari and Deccani miniatures, colonial Company paintings, Raja Ravi Varma, the nationalist Bengal School and the modernists of the Progressive Artists' Group. The interplay of court patronage and regional idioms is a recurring Mains theme.
Detailed Notes (18 points)
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1. Prehistoric Painting
Bhimbetka (Madhya Pradesh, UNESCO 2003): Hunting scenes, animals, dancing, using red and white mineral pigments; other sites in Mirzapur, Kerala's Edakkal caves (engravings).
2. Mural Tradition
Ajanta (Maharashtra, c. 2nd century BCE–5th century CE): Jataka tales and the Bodhisattva Padmapani; fresco-tempera technique; graceful lines and natural colours.
Others: Bagh (MP), Sittanavasal (Jain, Tamil Nadu), Brihadeeswara (Chola murals), Lepakshi (Vijayanagara), Kerala murals.
3. Miniature Painting
Pala school (eastern India, 11th–12th century): Buddhist palm-leaf manuscripts.
Western Indian / Jain school: Kalpasutra manuscripts with angular figures.
Mughal school: Began under Humayun with Persian masters (Mir Sayyid Ali, Abd al-Samad); Akbar's atelier produced the Hamzanama; peaked under Jahangir (naturalistic birds and animals by Ustad Mansur, portraits by Abul Hasan).
Rajasthani schools: Mewar, Bundi, Kota, Kishangarh (Bani Thani by Nihal Chand), Marwar—themes of Krishna-lila, ragamala and court life.
Pahari schools: Basohli (bold colours), Guler and Kangra (lyrical Krishna themes, soft colours).
Deccani schools: Bijapur, Golconda, Ahmednagar—Persian and local blend.
4. Colonial and Modern Painting
Company paintings: Indian artists painting for British patrons in a hybrid style.
Raja Ravi Varma: Oil paintings of mythological themes; oleographs made images widely available.
Bengal School: Abanindranath Tagore's 'Bharat Mata' (1905) and a return to Indian styles against Western academic art; Nandalal Bose (illustrated the Constitution).
Progressive Artists' Group (1947): F.N. Souza, S.H. Raza, M.F. Husain—modernism with Indian themes.
Amrita Sher-Gil blended European technique with Indian subjects.
Major miniature schools
| School | Period/patron | Features |
|---|---|---|
| Pala | 11th–12th century, Bengal-Bihar | Buddhist palm-leaf manuscripts |
| Mughal | Akbar, Jahangir, Shah Jahan | Realism, portraits, nature studies |
| Rajasthani | Rajput courts (Mewar, Kishangarh) | Krishna themes, bold colours, ragamala |
| Pahari | Hill states (Basohli, Kangra) | Lyrical, delicate lines, Krishna-Radha |
| Deccani | Bijapur, Golconda | Persian-Deccani blend, rich colours |
Fun Facts
'Bani Thani' is often called the 'Mona Lisa of India'.
Nandalal Bose and his students illustrated the original manuscript of the Indian Constitution.
The Ajanta caves were rediscovered in 1819 by a British officer on a tiger hunt.
Mains Key Points
Court patronage gave Indian painting resources and refinement, while regional idioms gave it diversity—the Mughal–Rajput–Pahari interplay shows both.
Painting reflects religious and social change: Buddhist murals, Bhakti themes in Rajput art, nationalism in the Bengal School.
Colonial rule disrupted patronage but also created hybrid forms and, in reaction, a nationalist art movement.
Preservation of murals and manuscripts needs scientific conservation and digitisation.
Prelims Strategy Tips
Bhimbetka rock shelters (MP) are a UNESCO World Heritage Site (2003).
Ajanta paintings depict mainly Jataka tales.
Mughal painting reached its peak under Jahangir.
'Bani Thani' belongs to the Kishangarh school.
Abanindranath Tagore painted 'Bharat Mata' (1905).
Folk and Tribal Painting Traditions of India
Key Point
Alongside court art, India has vibrant folk and tribal painting traditions practised by communities—often women—on walls, floors, cloth and paper. Madhubani, Warli, Gond, Pattachitra, Kalamkari, Phad, Pithora, Kalighat and Tanjore painting carry myths, rituals and nature themes; many now have GI tags and support artisan livelihoods.
Alongside court art, India has vibrant folk and tribal painting traditions practised by communities—often women—on walls, floors, cloth and paper. Madhubani, Warli, Gond, Pattachitra, Kalamkari, Phad, Pithora, Kalighat and Tanjore painting carry myths, rituals and nature themes; many now have GI tags and support artisan livelihoods.
Detailed Notes (17 points)
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1. Major Traditions
Madhubani / Mithila (Bihar): Bright colours, double lines, gods, nature and wedding themes; traditionally by women on walls.
Warli (Maharashtra): Tribal art with white geometric figures (circles, triangles) on mud walls showing daily life and the tarpa dance.
Gond (Madhya Pradesh): Dots and lines forming animals and trees; artist Jangarh Singh Shyam brought it to galleries.
Pattachitra (Odisha, West Bengal): Cloth scroll paintings of Jagannath and epic themes.
Kalamkari (Andhra Pradesh): Hand-painted or block-printed textiles; Srikalahasti (pen) and Machilipatnam (block) styles.
Phad (Rajasthan): Long scrolls narrating folk deities like Pabuji, used by Bhopa singers.
Pithora (Gujarat, MP): Ritual wall paintings of the Rathwa and Bhil communities.
Kalighat (West Bengal): 19th-century bold paintings near the Kalighat temple, often satirical.
Tanjore (Tamil Nadu): Gold-foil, gem-studded devotional panels.
Cheriyal scrolls (Telangana) and Saura (Odisha) tribal art.
2. Features
Use of natural colours, community and ritual function, oral narratives, symbolic rather than realistic style, passed down through generations.
3. Challenges
Loss of patronage, cheap machine-made copies, middlemen taking profits, younger generations leaving the craft.
4. Support
GI registration, Development Commissioner (Handicrafts), Shilp Guru and National Awards, e-commerce, design schools, PM Vishwakarma (2023) for artisans.
Folk paintings and states
| Painting | State | Feature |
|---|---|---|
| Madhubani | Bihar | Double lines, bright colours |
| Warli | Maharashtra | White geometric figures |
| Gond | Madhya Pradesh | Dots and lines |
| Pattachitra | Odisha | Cloth scrolls, Jagannath themes |
| Kalamkari | Andhra Pradesh | Pen-painted textiles |
| Phad | Rajasthan | Narrative scrolls of folk deities |
Fun Facts
Madhubani painting gained wider attention after the 1934 Bihar earthquake exposed painted walls.
Sita Devi and Ganga Devi are celebrated Madhubani artists who received national honours.
Warli art traditionally used rice paste for its white pigment.
Mains Key Points
Folk art is living heritage tied to community rituals and identity, not just decorative craft.
GI tags and market access can protect authenticity and raise artisans' incomes.
Women artists have been central to traditions like Madhubani, making the sector important for women's empowerment.
Commercialisation must be balanced with preserving meaning and community ownership.
Prelims Strategy Tips
Warli is a tribal art of Maharashtra using white pigment on mud walls.
Phad scrolls narrate the stories of Pabuji and Devnarayan.
Kalamkari literally means 'pen work'.
Pithora painting is associated with the Rathwa community.
Tanjore paintings use gold foil and gems.
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