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Sonika. "RAINBOW OF COLOURS – THE PAHARI MINIATURE PAINTING”." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–4. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3534.
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Indian miniatures are in the art world a class by themselves. ‘Miniature’ generally refers to a painting or illumination, small in size, meticulous in detailing and delicate in brushwork1. Indian Miniature Painting has a long history of over thousand years and presents a comprehensive record of the religious and emotional feelings of the Indian people. These paintings show the Indian genius in its pure form. Its inspiration is rooted in the people’s hearts, keeping close to their poetry, music and drama. The great merit of this art is the exquisite delicacy of drawing with decorative details. The artists of these miniatures used bright colours with tempera effect and display an unusual understanding of colour combinations.Miniature art form made its debut in the 10th century. The earliest of miniatures are found painted on palm-leaves and their themes relating to Jainism and Buddhism. The palm-leaf paintings seem to have developed between 10th to 12th centuries. In the 14th century, palm leaf was replaced by paper and to earlier colours were added new mineral colours and pigments. Paper, with its tougher, smoother and better pigments absorbing surface almost revolutionized the entire art scenario2.
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Cardeira, Ana Mafalda, Stéphane Longelin, Agnès Le Gac, Isabel Nogueira, Maria Luísa Carvalho, and Marta Manso. "Spectroscopic Characterization of a Contemporary Indian Miniature Painting." Applied Spectroscopy 67, no. 12 (December 2013): 1376–81. http://dx.doi.org/10.1366/13-07147.
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Tiwari, Seema. "THE ORIGIN OF INDIAN PAINTINGS AND THE EMERGENCE OF MINIATURE SCHOOLS OF PAINTING IN INDIA." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 146–49. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3725.
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Indian traditional art has always been rich in its types, forms and tecniques. Apart from the sculptures, poetry, textile arts, pottery, drama, dance, music etc., paintings are also an inextricable form of Indian art. The origin Indian art can be traced to ore-historic settlements in the 3rd millennium BC. The Indian art has undergone inevitable changes as a result of the influences of cultures, traditions, religions, religious sentiments, climatic conditions, globalisation and multiple other factors. Thus, with the development of the Indian civilization over the years developed the numerous kinds of paintings, as a means of communication, entertainment and livelihood. Being an important form of artistic expression, these paintings depict the life and customs followed by the people of different time periods.
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Di Pietrantonio, Natalia. "Pornography and Indian miniature painting: the case of Avadh, India." Porn Studies 7, no. 1 (January 18, 2019): 36–60. http://dx.doi.org/10.1080/23268743.2018.1532808.
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Mahore, Nisha. "PAINTING MENTIONS IN ANCIENT INDIAN TEXTS." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 54–58. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.984.
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Engish : In ancient Indian texts, the rules related to painting are mentioned in detail, in which texts of poetry, drama, epic, Puranas, Upanishads and various disciplines describe their popularity in ancient tradition and cultural methods of Indian painting and public opinion. Apart from this, there are some texts in which free and comprehensive painting has been explained in detail. For example, there are 269 chapters in this book composed by Vishnudharmottara Purana Markandeya. Under which, in the third section, Sanskrit subjects are especially important for the fine arts. In which chapters 1 to 118 are told about art. In this book, nine chapters from 35 to 43 are of Chitrasutra. It is very popular and most notable and well-known. In which detailed information related to the painting is given, which is not found in any other book before it.In the same way, in the epic, Ramayana, Mahabharata, there is a description of paintings on chitrashalas, palaces, chariots and the great dramatist Bhasa has described the paintings in his three plays Swapnavasavadattam, Pratigya Yogandharayana and Dutavakya. Apart from this, painting has also been mentioned in texts like Abhilachirtartha Chintamani, Mansar, Samranga Sutradhar.It is only through these ancient Indian texts that the painter has been able to study the artifacts microscopically. That is, following the rules related to the picture in these texts can be seen in miniature paintings of Ajanta, Mughal, Rajasthan. By following these rules, painters have been able to express their artistry by imbibing expressions like harmony, balance and cooperation, effectiveness in their artworks. The example of which can be seen in the artwork made by Bengal school and artists of Calcutta.
Hindi : प्राचीन भारतीय ग्रन्थों में चित्रकला से सम्बन्धित नियमों का उल्लेख विस्तृत रूप से मिलता है जिसमें काव्य, नाटक, महाकाव्य, पुराण, उपनिषद् व विभिन्न विषयों के ग्रन्थों द्वारा भारतीय चित्र लेखन की प्राचीन परम्परा व सांस्कृतिक विधियों एवं जनमानस में उनकी लोकप्रियता का वर्णन मिलता है। इसके अतिरिक्त कुछ ऐसे ग्रन्थ भी हैं, जिनमें स्वतन्त्र व व्यापक रूप से चित्रकला की व्याख्या विस्तार रूप से की गयी है। उदाहरण स्वरूप विष्णुधर्मोत्तर पुराण मार्कण्डेय द्वारा रचित इस ग्रन्थ में 269 अध्याय हैं। जिसके अन्तर्गत तीसरे खण्ड में संस्कृत विषयों में विशेषकर ललित कलाओं के लिये सर्वाधिक महत्वपूर्ण हैं। जिसमें अध्याय 1 से लेकर 118 तक कला के बारे में बताया गया है। इसी ग्रन्थ में 35 से 43 तक नौ अध्याय चित्रसूत्र के हैं। यह बहुत चर्चित व सर्वाधिक उल्लेखनीय एवं बहुचर्चित हैं। जिसमें चित्रकला से सम्बन्धित विस्तृत जानकारी दी गयी है, जो इससे पहले अन्य किसी ग्रन्थ में नहीं मिलती।
इसी तरह से महाकाव्य, रामायण, महाभारत में चित्रशालाओं, महलों, रथों पर चित्रकारी का वर्णन मिलता है व महान नाटकार भास ने अपने तीन नाटकों स्वप्नवासवदत्तम्, प्रतिज्ञा योगंधरायण तथा दूतवाक्य में चित्रों के बारे में बताया है। इसके अलावा अभिलषितार्थ चिन्तामणि, मानसार, समरांगण सूत्रधार जैसे ग्रन्थों में भी चित्रकला का उल्लेख किया गया है।
इन प्राचीन भारतीय ग्रन्थों के माध्यम से ही आज चित्रकार कलाकृतियों का अध्ययन सूक्ष्मरूप से करने में सक्षम हो सका है। अर्थात् इन ग्रन्थों में चित्र से सम्बन्धित नियमों का पालन अजन्ता, मुगल, राजस्थान के लघु चित्रों में देखा जा सकता है। इन नियमों का पालन करते हुये ही चित्रकार अपनी कलाकृतियों में सामंजस्य, सन्तुलन व सहयोग, प्रभाविता जैसे भावों को आत्मसात करते हुये अपनी कलाकृति को अभिव्यक्त कर पाने में समर्थ हो सके हैं। जिसका उदाहरण बंगाल स्कूल व कलकत्ता के कलाकारों द्वारा बनायी कलाकृतियों में देखा जा सकता है।
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Joshi, Indu, and Kamal Kishore Kashyap. ""IMPACT OF MINIATURE PAINTING ON CONTEMPORARY ARTISTS OF RAJASTHAN"." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 204–6. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3738.
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Contemporary art which believes in the creation of an unimaginable world by creating new forms of continuous form which has shaped its sensation by mixing multiple modes of expression and has also reduced the distance of art from other experimental disciplines. As a result, the creation of an artwork today has created a new way to express the psychological effects of human beings through pictures by creating musical melodies, perfume fragrances and many other environments.The influence or inspiration of something has always been behind any experiment or work in human life, in the same way, many contemporary artists, influenced by the Indian miniature, painting tradition, developed their own art style by creating new forms. At the same time, the work of inspiring the invaluable heritage of Indian painting in a changing environment. Contemporary artists have succeeded in creating amazing picture forms by blending contemporary and interactive shapes, by entering the world of miniature paintings made in small color, color, method, contemporary artists by entering the world of canvas and oil colors.A long list of artists who have attracted the whole world by creating such art forms is working in Rajasthan, which includes Chhotu Lal, Shail Chappell, Couple Kishore Upadhyay, Rameshwar Baruta, Lalit Shrama, Prabha Shah, Lalchand Marothia, Charan Sharma, Kiran Murdia etc. includes many names.
समकालीन कला जो नित नवीन रूपों का सृजन कर एक अकल्पनीय संसार के सृजन में विश्वास रखती है जिसने अभिव्यक्ति के अनेक साधनों के मिश्रण से अपपनी अनुभूति को एक आकार प्रदान करने के साथ अन्य प्रयोगधर्मी विषयों से कला की दूरी को कम करने का भी कार्य किया है जिसका परिणाम है कि एक कलाकृति का निर्माण आज संगीत की धुन, इत्र की सुगंध एवं अन्य कई प्रकार के वातावरण का सृजन कर मनुष्य के मनोवैज्ञानिक प्रभावों को चित्रों के माध्यम से अभिव्यक्त करने का नवीन मार्ग प्रशस्थ हुआ।मनुष्य के जीवन में कोई भी प्रयोग या कार्य के पीछे हमेशा से ही किसी चीज का प्रभाव या प्रेरणा कार्य करती आयी है उसी प्रकार से अनेक समकालीन कलाकारों ने भारतीय लघु, चित्र परम्पपरा से प्रभावितत होकर अपनी कला शैली का विकास कर नवीन रूपों के सृजन के साथ-साथ भारतीय चित्रकला की अमूल्य धरोहर को बदलतते परिवेश में गति प्रदान करने का कार्य किया है। छोटे-छोटे पारस्परिक रूप-रंग, विधि में बने लघु चित्रों के संसार को समकालीन कलाकारों ने कैनवास एवं तैल रंगों की दुनियां में प्रवेश कराकर समकालीन एवं पारस्परिक आकारों के समिश्रण से अद्भुत चित्र रुपों की रचना करने में सफल रहा है। इस प्रकार के कला रूपों का सृजन कर सम्पूर्ण विश्व को आकर्षित करने वाले कलाकारों की एक लम्बी सूची राजस्थान में कार्यरत हैं जिसमें छोटू लाल, शैल चैपल, युगल किशोर उपाध्याय, रामेश्वर बरूटा, ललित श्र्मा, प्रभा शाह, लालचंद मरोठिया, चरन शर्मा, किरण मुर्डिया आदि अनेक नाम शामिल हैं।
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Kumari, Kanchan. "SPIRITUAL HAPPINESS IN MALWA MINIATURE PAINTINGS STYLE." ShodhKosh: Journal of Visual and Performing Arts 2, no. 2 (September 23, 2021): 34–47. http://dx.doi.org/10.29121/shodhkosh.v2.i2.2021.28.
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English - All the arts are result of human nature & Beauty. one of the ancient primitive art and the cultured art and on the other hand, the development of folk art takes place. Folk art often consists of religious narratives, religious traditions, religious symbols and a part from fictional mythological events, social festivals and social beliefs are based on the background. Art is incomplete without each other in terms of folk art and classical art. These two forces are complementary to each other. This most of the paintings of our Indian miniature painting style are based on poems and literature. The miniature paintings of Malwa are for spiritual enjoyment, it is a reflection of its civilization and culture, in which The people there are not able to see the spirit of life. important various elements of Malwa miniature painting style of folk art For many subjects (literature) such as Kalpasutra, Ramayana, Mahabharata, Devi Mahatmaya, Bustan of Saadi are based on. that are spiritual and historical respectively. Pictures based on poems are made on enchantment/affairs (Radha Krishna) and Nayika Bhed respectively. In The subjects of the pictures are like- Rasik Priya, Barhamasa, Ragamala, Rasaveli. In which we get the elements of art, human figures, nature Illustrations are visible through colour, line, form, tone, texture, space in architectural marking. Bhakti and yoga in Indian Art along with this, special emphasis was placed on the expression of emotion, due to which the art of Malwa remained intact. Folk art traditions contained in Malwa Miniatures are still prevalent in villages and cities and in many museums. It is safe and people have unwavering faith in these folk traditions.
Hindi - सम्पूर्ण कलाऐं मनुष्य की सौन्दर्यवृत्ति का परिणाम है। प्राचीन आदिम कला में से एक ओर सुसंस्कृत कला का और दूसरी ओर लोककला का विकास होता है। लोककला प्रायः धार्मिक आख्यानों, धार्मिक परम्पराओं, धार्मिक प्रतीकों एवं काल्पनिक पौराणिक प्रसंगों के अतिरिक्त सामाजिक त्यौहारों तथा सामाजिक मान्यताओं की पृष्ठभूमि पर आधारित होती है। लोककला और शास्त्रीय कला दोनों ही कला एक दूसरे के बिना अधूरी है। ये दोनों ही एक दूसरे के पूरक है। इसी सन्दर्भ में हमारी भारतीय लघु चित्रशैली के अधिकांश चित्रों के विषय काव्यों तथा साहित्य (ग्रन्थों) पर आधारित है। मालवा की लघु चित्रकला आध्यात्मिक आनन्द को लिए हुए है, उसकी सभ्यता और संस्कृति का वह प्रतिबिम्ब है, जिसमें वहाँ के जन जीवन की आत्मा के दर्शन होते हैं। मालवा लघुचित्र शैली के चित्र लोककला के विभिन्न महत्वपूर्ण तत्व लिए कई विषय (साहित्य) जैसे- कल्पसूत्र, रामायण, महाभारत, देवी महात्मय, बुस्तान आफ सादी पर आधारित है। जो क्रमशः आध्यात्मिक और ऐतिहासिक है। काव्यों पर आधारित चित्र क्रमशः प्रेमकथाओं तथा नायिका भेद पर बने है। इन चित्रों के विषय जैसे- रसिक प्रिया, बारहमासा, रागमाला, रसवेली है। जिसमें हमें लोककला के तत्व मनुष्याकृतियों, प्रकृति चित्रण, स्थापत्य अंकन में रंग, रेखा, रूप, तान, पोत, अन्तराल के द्वारा दृष्टिगोचर होते है। भारतीय कला में भक्ति एवं योग के साथ-साथ भाव की अभिव्यक्ति की ओर विशेष जोर दिया गया, जिसके कारण मालवा की कला भी अक्षुण बनी रही। मालवा लघुचित्रों में समाहित लोककला परम्परायें आज भी गाँव व शहरों में प्रचलित हैं और कई संग्रहालयों में सुरक्षित है तथा इन लोक परम्पराओं पर लोक मानस की अटूट श्रृद्धा है।
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Kodode, Ujjwal. "THE PHILOSOPHICAL ROLE OF COLORING IN THE PERSPECTIVE OF RAJASTHANI MINIATURE." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3682.
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In Rajasthan, the interest towards painting and its original form was traditionally prevalent. The credit for reviving Rajasthani traditions and cultures is seen in the traditional painting here, in the depiction of women and the expression of colors. Evidence of this is seen in the lineages and color combinations etched in ancient times in the rock shelters here. There is an initial depiction by Rangay showing the expressions of the then figures. Rajasthani painting certainly occupies an important place in Indian art from the 16th century to the 19th century. The combination of colors is the predominance of this style. The variety of colors with rankhako has been skillfully perfected, but the simple combination of colors has been expressive, dynamic, strong and figurative.
राजस्थान में चित्रकला प्रति अभिरूचि और उसका मौलिक स्वरूप परम्परागत रूप से प्रचलित था। जो राजस्थानी परम्परा एवं संस्कृतियों को गैारवान्वित करने का श्रेय यहां की पारम्परिक चित्रकला में नारी चित्रण और रंगांे की अभिव्यक्ति में दिखाई देता है। इसका प्रमाण यहां के शैलाश्रयों में प्राचीन काल में उकेरे गये रेखाकंन एवं रंग संयोजन में दिखाई पड़ता है। रंगांे द्वारा तत्कालीन आकृतियों के भाव दर्शा ने का प्रारंभिक चित्रण हुआ है। 16 वीं शताब्दी से 19 वीं शताब्दी तक राजस्थानी चित्रकला निश्चय ही भारतीय कला में महत्वपूर्ण स्थान प्राप्त है। रंगों का संयोजन रेखाओं का बारीकी इस शैली की प्रधानता रही है। रेंखाकनो के साथ रंगों की विभिन्न छंटा कुशलतापुर्ण, किन्तु सरल संयोजन, रंगों का अभिव्यक्तिपूर्ण,गतिशील, सशक्त एवं आलंकारिक किया गया है।
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Misawa, Hiroe. "The Expression of Hāsya and Karuṇa Rasa in an Indian Miniature Painting of Gītagovinda 1.32." Journal of Indian and Buddhist Studies (Indogaku Bukkyogaku Kenkyu) 66, no. 3 (March 25, 2018): 1022–26. http://dx.doi.org/10.4259/ibk.66.3_1022.
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Forberg, Corinna, and Pauline Lunsingh Scheurleer. "How to Succeed in Marketing Something Repulsive: A Recently Discovered Drawing of a Yogi by Willem Schellinks (1623– 1678)." Zeitschrift für Kunstgeschichte 81, no. 3 (October 15, 2018): 356–73. http://dx.doi.org/10.1515/zkg-2018-0026.
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Abstract In seventeenth-century Dutch paintings, ascetics are a rare and remarkable subject, even more so when they are Hindu ascetics. The drawing of a yogi created by Rembrandt’s contemporary Willem Schellinks (1623– 1678) is unique for this reason. This article investigates the various possible sources of Schellinks’ drawing – an eyewitness report, the many travel accounts on South Asia, Indian miniatures, or the like – and discusses its place between the European tradition of exoticism and the iconography of saints, as well as its position in Schellinks’ own oeuvre. Far from resorting to exotic stereotypes, Schellinks enlarged the canon of Dutch painting by combining observed foreign objects with established exotic motifs.
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Dhiman, Rekha. "MUGHAL CARPET COLOR MAKING PROCESS (WITH REFERENCE TO THE JAHANGIR ERA)." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–3. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3644.
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Mughal painting maintains an independent and significant identity throughout Asia. Babur, the fifth generation of Timur Vansh, established Mughal culture in 1527 by dominating some parts of India. Which was extended by the rulers of Humayun, Akbar, Jahangir, Shahjahan and Aurangzeb. At this time, all the arts developed properly. Mughal carpet painting was at its peak till the reign of Shahjahan. Iranian, Chinese and Western art styles influenced this. At this time the painting was effective as miniature and crystal painting. 'Jahangir period (from 1605 to 1627 AD) painting was in its youth in the form of miniatures. Senior painters in the schools of paintings used to study the subjects practically as well as impart an important chapter in the 'Rangamiji in miniatures' according to Nassab Talim. This was the reason that Jahangiric painting was achieved to the extreme. Provided the method of color mixing to Lipi. 2 Under this, special attention was given to color formation process and color composition. Senior painters used to train the subjects to collect natural, mineral and chemical tissue stems under their own supervision. During the Jahangir period, color manufacturing was done in India itself and exported to other countries. Therefore, special attention was also paid to color making method.
म्ुागल चित्रकला सम्पूर्ण एषिया में स्वतंत्र और महत्वपूर्ण पहचान बनाये हुए है। तैमूर वंष की पांचवी पीढ़ी के बाबर ने सन् 1527 में भारत के कुछ हिस्सों पर अपना आधिपत्य कर मुगल संस्कृति को स्थापित किया। जिसे हुमांयू , अकबर, जहाँगीर, षाहजहँा और औरंगजेब आदि षासकों ने विस्तार दिया। इस समय सभी कलाओं का समुचित विकास हुआ। षाहजहँा के षासन काल तक म्ुागल कालीन चित्रकला चरम - वैभव को प्राप्त थी। इस पर ईरानी, चीनी और पष्चिमी कला षैली का प्रभाव पडा। इस समय चित्रकला लघु और स्फुट चित्रों के रुप प्रभावषाली रही। ’जहाँगीर काल (1605 से 1627 ई. तक) चित्रकला लघुचित्रों के रुप में अपने यौवन पर थी।‘1 जहाँगीर ने अपने षासनकाल में चित्रषालाओं की स्थापना की और चित्रकारों को संरक्षण प्रदान किया। चित्रषालाओं में वरिष्ठ चित्रकार षिष्यों को व्यवहारिक रुप से अध्ययन कराते थे ही साथ ही नसाब तालीम अनुसार ’ लघुचित्रों में रंगामेजी ’ महत्वपूर्ण अध्याय की तालीम दिया करते् थे।यही कारण था कि जहाॅंगीरकालीन चित्रकला चरमसीमा को पाप्त हुई।’मरवादीद ने सम्पूर्ण मुगलों की चित्रकला अैर लिपी को रंग मिश्रण का विधान सुलभ कराया। 2 इसके अंतर्गत रंग निर्माण प्रक्रिया और रंग संयोजन को विषेष महत्व दिया जाता था। वरिष्ठ चित्रकार षिष्यों को स्वयं के निरीक्षणमें प्राकृतिक, खनिज और रासायनिक तंू उंजमतपंस एकत्रित करने का प्रषिक्षण देते थे। जहाँगीर काल में रंग निर्माण का कार्य भारत में ही होता था और अन्य देषों को निर्यात किया जाता था। अतः रंग निर्माण पद्यति पर भी विषेष ध्यान दिया जाता था।
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Wheeler, Michael. "Restoration of Indian Miniature Paintings by K.K. Gupta." Journal of the Institute of Conservation 33, no. 1 (March 1, 2010): 113. http://dx.doi.org/10.1080/19455220903558231.
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Kaur, Jasminder. "CHAMBA RUMAL: THE PAINTING BY NEEDLE." International Journal of Research -GRANTHAALAYAH 5, no. 6 (June 30, 2017): 18–32. http://dx.doi.org/10.29121/granthaalayah.v5.i6.2017.1988.
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India is a nursery of art and numerous mesmerizing arts and crafts forms have taken shape in this land. Its hill state of Himanchal Pradesh has a legacy of many art techniques and the townships of Guler, Basohli, Kangra, Chamba, and Mandi are the main art schools here. Other than rich pictorial art of murals and miniatures, it has many other art forms to its credit, but the picturesque Chamba Rumal stands unparalleled. The vivacity, vividness and precision of this needle art make it so close to the Pahadi miniatures and murals that it appears to be their transcript on the fabric. Because of this resemblance, it is also known as “Needle Painting”. This household origin art was normally done on the domestic articles, i.e. Rumal (Coverlet), Cap (joji), Hand Fan, Choli (blouse) etc. Among these, Rumal got a special place in the world and became popular by the name of ‘Chamba Rumal’. The folk nature of this art got new dimension as a classical form with the royal patronage. Here the technique was drawn from the folk style, but the motifs were of the Pahadi paintings. Because of its pictorial beauty, Chamba Rumal is also known as ‘Painting by the Needle’.
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Abbasi, Sana Mahmoud. "A Comparison Study between Rajput & Mughal Indian Miniature Paintings A study of the relationship between Mythologies & representations of Clothing." Paripex - Indian Journal Of Research 2, no. 2 (January 15, 2012): 148–53. http://dx.doi.org/10.15373/22501991/feb2013/51.
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Cattoni, Nadia. "The Figure of Radha in Miniature Paintings: From the Pastoral to the Courtly, from Text to Visuality, from Polyphony to Normativity." Religion and Gender 5, no. 1 (February 19, 2015): 52–70. http://dx.doi.org/10.18352/rg.10083.
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This article analyses how Radha was depicted in miniature paintings between the 16th and 19th century in North India. Interrogating the link between text and image, contrasting poetry, style and historical settings with the visual representations of this central figure, the reflections focus on the changing nature of Radha. Through various examples from miniature paintings of different periods and schools, this article analyses the way the rich personality of Radha was transposed into images. In order to stress the changes brought to this female figure, she will be compared to Krishna, the masculine figure who is always at her side. The main goal of the article is to show the normative power of images on the figure of Radha, with normativity being understood as the simplification, iconisation, aestheticisation and stereotypification of a figure with polysemous references.
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Ningwal, Manjula. "MARKING AND IMPORTANCE OF ARTISTIC MARGINS IN PAINTINGS OF MEDIEVAL INDIAN MINIATURE STYLES: A STUDY." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 297–300. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3757.
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Art is an expression of soul. He is also the inauguration of the esoteric mysteries of the human heart. The influence of external nature on human conscious heart arises from it. Therefore, the eternal and fervent spirit of expressing emotions has been considered as the mother of art.
कला आत्मा की अभिव्यक्ति है। वह मानव हृदय के गूढ़ रहस्यों का उद्घाटन भी है। मानव के चेतनशील हृदय पर बाह्य प्रकृति का जो प्रभाव पड़ता है, उसी से कला का प्रस्फुटन होता है। इसलिए मनोभावों को व्यक्त करने की शाश्वत एवं उत्कट भावना को कला की जननी माना गया है।
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Kumar Tiwari, Pawanendra. "COLORS IN MEDIEVAL BOOK PICTURES AND MINIATURES." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3669.
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In medieval India, colors for drawing were obtained from a variety of substances such as minerals, compounds or natural salts. Some colors were derived from natural materials such as plant biomass. For example, neem and wormwood etc. were used in large scale not only in pictures but also in writing. Similarly, because of red ink written in silver and gold, Swanakshari Shetakshari was named. Red ink was used to draw margins at the end of the prominence, in the lines, in the instruments, etc. Books written with gold and silver powder were more expendable and they had more sense of grandeur. It was also relatively difficult to write the letters of silver and gold and in reading it there was a lot of emphasis on the eyes. Most of the mineral colors have been used in the West Indian painting style. These were finely powdered and brought into color. The natural state of the dyes was impure, so it was purified by dissolving it in water. Heavy impurities used to sit at the bottom and the top water was drained and separated. This process was repeated many times and color refinement was used to dry it and used it for illustration. This action was called color washing.
मध्यकालीन भारत में चित्रण के लिए रंग कई प्रकार के पदार्थो जैसे खनिजों योगिको अथवा प्राकृतिक लवणों से प्राप्त किये जाते थे। कुछ रंग प्राकृतिक वस्तुओं जैसे वनस्पति जैव पदार्थो से प्राप्त किये जाते थे। उदाहरण के लिए नीम तथा कृमिदाना आदि काजल का प्रयोग न केवल चित्रो में बल्कि लेखन कार्य में भी बडे पैमाने पर हुआ। इसी प्रकार लाल स्याही चाँँदी तथा सोने में लिखा होने के कारण स्वणाक्षरी शेत्याक्षरी नाम दिया गया । लाल स्याही का प्रयोग अहमायो के अन्त में हाशिये खीचने में वृन्तों रेखाओं यंत्रों आदि में हुआ। स्वर्ण रजत चूर्ण से लिखी जाने वाली पुस्तके अधिक व्यय-साध्य थी उनमें वैभव-प्रदर्शन की भावना अधिक होती थी। चाँदी तथा स्वर्ण के अक्षरों को लिखना भी अपेक्षाकृत कठिन होता था तथा उसको पढने में भी आखो पर अधिक जोर पडता था। पश्चिम भारतीय चित्र-शैली में अधिकतर खनिज रंगों का प्रयोग किया गया है। इन्हें बारीक चूर्ण के रूप में लाकर रंग बनाया जाता था। रंगो की प्राकृतिक अवस्था अशुद्ध होती थी अतः उसको पानी में घोलकर निथारकर शुद्ध किया जाता था। भारी अशुद्धियाँ नीचे बैठ जाती थी तथा ऊपर का पानी निथारकर पृथक् कर लिया जाता था। इस क्रिया को कई बार दोहराकर रंग का शोधन किया जाता था इसे सुखाकर चित्रण-कार्य में प्रयुक्त करते थे। इस क्रिया को रंग धोना कहते थे।
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Muhammad Ahsan Bilal and Sonia Nasir Khan. "Mughal Men’s Head Ornaments with an Emphasize on Turban Ornaments and their Connection with European Aigrette." PERENNIAL JOURNAL OF HISTORY 2, no. 1 (June 30, 2021): 1–16. http://dx.doi.org/10.52700/pjh.v2i1.36.
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Jewelry is main aspect of dressing and Mughal Jewelry is a fascinating theme to explore. Its styles can be traced through the paintings that clearly give accurate information of the style and variety of ornaments that were used during the seventeenth and eighteenth centuries. Jewelry is considered the feminine adornment part but miniature shows the beautiful ornamentation of Mughal emperors also with variation in sizes and design. This article discusses the Mughal male head ornaments and study is focused on the turban ornamentations. As man’s turban is his sacrosanct property and variety of turban ornaments were used by Mughals. This paper is an attempt to understand and examine that how the Mughal turban ornament develops from simple feather to piece of complex jewelry designs and how other culture helps in its development. Why Mughal emperors worn such gemstones in headdress and which techniques were used for its decoration? Is there any specific reason of using such gemstones or just for ornamentations purposes? In the end it concludes that sarpech shapes helps in the development of European aigrette and became a part of European jewelry that later helped in the modification of turban ornaments and Euro-Indian sarpech-aigrette appeared with more delicate style.
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Topsfield, Andrew. "Indian miniature paintings and drawings: The Cleveland Museum of Art catalogue of orient art. Part one. By Linda York Leach. (The Cleveland Museum of Art Catalogue Series.) pp. xvi, 324, 24 col. pl., illus. in b. and w. 2 maps. Ohio, The Cleveland Museum of Art, distrib. by Indiana University Press, 1986. US$65.00." Journal of the Royal Asiatic Society of Great Britain & Ireland 120, no. 1 (January 1988): 230–31. http://dx.doi.org/10.1017/s0035869x00164755.
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Самбьял, Р. С. "Ecological aesthetics in miniature paintings." Искусство Евразии, no. 3(6) (September 17, 2017). http://dx.doi.org/10.25712/astu.2518-7767.2017.03.009.
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Переплетение культур в дополнении с традиционными видами искусства придает изыск культуре Индии. Утонченное искусство создания миниатюр является одним из проявлений человеческого разума. В миниатюрах, изображавших сцены встреч богов с людьми, природа постепенно становилась основной идеей. Живая поэтическая выразительность стала мотивом миниатюр и смешалась с цветами природы, идеалистически и таинственно складываясь в неповторимый узор. Tapestry of cultures embellished with traditional art forms has ornamented the Indian culture. The elusive art of Miniature Painting is one such expression of human intellect. The miniatures which used to depict the court scenes gradually adopted nature as its theme. The vivacious poetic expressions became the theme of miniature paintings and got blended with colors of nature, intertwining the idealistic and mystical in matchless harmony.
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Jaykrushna, Drashti. "PAINTINGS OF JAHANGIR’S ERA." Towards Excellence, March 31, 2021, 334–49. http://dx.doi.org/10.37867/te130131.
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Jahangir’s school of painting is a treasure in itself. It was a golden period of miniature paintings in Indian art. Very famous painters of Jahangir’s court like Abul al Hasan, Mansoor, Bichitra, Govardhan, Bisandas painted famous court paintings, paintings of birds and animals, flora and fauna so brilliantly.
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Jaykrushna, Drashti. "PORTRAITS AND FIGURATIVE PAINTINGS OF JAHANGIR’S ERA." Towards Excellence, December 31, 2020, 392–412. http://dx.doi.org/10.37867/te120535.
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Jahangir’s school of painting is a treasure in itself. It was a golden period of miniature paintings in Indian art. Very famous painters of Jahangir’s court like Abul al Hasan, Mansoor, Bichitra, Govardhan, Bisandas painted famous court paintings, paintings of birds and animals, flora and fauna so brilliantly. In this paper I emphasize how figurative composition and portrait details were drawn in Jahangir’s paintings.
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Ханда, О. Ч. "Pahari miniature schools." Искусство Евразии, no. 1(1) (November 28, 2015). http://dx.doi.org/10.25712/astu.2518-7767.2015.01.002.
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Статья посвящена исследованию миниатюрной живописи в районе Гималаев живописи школы Пахари. В фокусе внимания автора становление и развитие этой художественной традиции в искусстве Индии, а также особенности техники, стилистические и тематические разновидности миниатюры на бумаге и вышивной живописи. The article is devoted to the study of miniature painting in the Himalayas the Pahari Miniature Painting school. The author focuses on the formation and development of this artistic tradition in the art of India, as well as the features of technics, stylistic and thematic varieties of miniatures on paper and embroidery painting.
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Dubbini, Gianni. "Between Mughal Art, Ethnography and Realism." 55 | 2019, no. 1 (June 27, 2019). http://dx.doi.org/10.30687/annor/2385-3042/2019/01/009.
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Nicolò Manucci (or Manuzzi) (ca 1638-1720) is a well-known figure among scholars: a Venetian adventurer, artilleryman and doctor in Early Modern India. He was a dynamic man, who frequented for a long time both the Mughal courts and the European agents of the seventeenth and early eighteenth century trade companies, leaving meaningful testimonies of his age, and thus becoming an important (and controversial) historical source on South Asia. In spite of the celebrity gained by his biography and his work, Manucci’s role as European patron of Indian artists has been undervalued so far, with scholars often preferring to define him as a mere collector of works of Indian miniatures. Through an historic and artistic examination of his work, of other coeval works of art and contemporary sources, the aim of this paper is to show that Manucci was actually an important patron of Indian painting, a paradigmatic precursor of figurative didactic works mainly illustrated by (unfortunately anonymous) Indian artists under his guidance, and at the same time mediated by his bias and his culture, following an interesting and original hybrid format that bridges European figurative culture and Indian art.
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Saini, Jyoti. "Manifestation of Indian Miniature Style in the Paintings of Nicholas Roerich." Chitrolekha Journal on Art and Design 1, no. 1 (April 10, 2017). http://dx.doi.org/10.21659/cjad.v1n1.v1n106.
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