Miniature Paintings in India...

3:07 p.m.

 
02/11/23 - The palaces in the cities of Udaipur and Jodhpur (India), which were the residences of the maharajas for centuries, became museums after the country's independence. What do they showcase now? The sumptuousness of the architecture, their art collections, the varied weapons, sculptures and furniture. However, the paintings that portray both the life of the palace's inhabitants and religious mythology deserve a separate chapter.

Most of these works correspond to the 19th century (a time of splendor for these kingdoms) and although very few of them include the name of the artist, the technical skill is astonishing. These wonders were painted on rice paper reduced to the point where it becomes an extremely thin, almost transparent layer. The artist then defines the shapes with single-fiber brushes, creating strokes of almost imperceptible thickness. That is why they are called “miniatures”. The palette is wide, the entire spectrum of colors is included and the pigments are obtained from natural ingredients with the addition of precious stones and metals.  

 

No record of title, Artista Jiva (19th Century)
Udaipur Palace, India

 

No record of title, Artista Jiva (19th Century)
Udaipur Palace, India

 



No record of title, no record of artist (19th Century)
Silawatwari, Udaipur Palace, India

 

The images above correspond to scenes from Hindu mythology and episodes from the lives of the former inhabitants of the Palace, a certainly exuberant life that contrasts with the extreme delicacy of these miniatures. Love scenes between Lord Krishna and Radha are also included. Explicit sexual scenes of the gods are a constant in almost all the Palace collections. For example, at Jodhpur Palace there is a series dedicated exclusively to love in all its aspects: from conquest to marriage and consummation (important for reproduction). In this series, Maharaja Takhat Singh, who lived between 1813 and 1873, is the predominant figure, standing out for his volume from the secondary characters. He is depicted surrounded by female companions at his side or resting on his lap. These female figures perform all types of tasks, generally applicable to the male sex: they are guardians, horses-valet or cooks. The word "Singh" is part of the maharaja's name and it identifies the caste to which he belongs, in this case that of the warriors. Most of the maharajas, not to mention all of them, belonged to the warrior caste, which is not the highest in the pyramid: that corresponds to the priests.

 



Maharaja Takhat Singh sojourns in a forest with an entoraugeno record of artist (Mid-19th Century) 

Jodhpur Palace, India

 

The last paintings are found on the wall that surrounds the entrance to Jodhpur Palace and are very interesting because they represent the most relevant gods of Hindu mythology with their vehicles. "Vehicle" is defined as the animal that represents them in the earthly world. Despite being located outside, the paintings are preserved in very good condition, apparently the technique would not be "fresco", as one might assume, but rather "dry" with modified natural elements.

 


The Gods of the Hindu Religion with their vehicles, Sodagaran Mohalla
Jodpur Palace, India

 

What makes these paintings so peculiar is the detail in each figure, despite the hieraticism and frontality. The intention of these is not artistic expression but the transfer of religious or philosophical knowledge, although the maharajas were also portrayed in their private lives.

You Might Also Like

0 comentarios

Contents

Liliana Wrobel


Production & Translation

Carla Mitrani

Contact

ObrasMNBA@gmail.com