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Journal articles on the topic 'Miniature painting, Indic'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

Banthia, Prashasti, and Kumkum Bharadwaj. "A STUDY OF CULTURAL ADOPTION OF MINIATURE PAINTINGS IN AIR INDIA PUBLICITY POSTERS." ShodhShreejan: Journal of Creative Research Insights 1, no. 1 (2024): 18–23. https://doi.org/10.29121/shodhshreejan.v1.i1.2024.6.

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To study the cultural factors, appealing elements and themes of Indian miniature painting used in different commercial advertising posters of Air India. This objective will be achieved by qualitative analysis of some posters used in advertising campaigns by Air India company ever since from its establishment, in which artist uses Indian miniature paintings as reference to communicate and influence people both nationally and internationally. By medium of this paper it will be easier to make people aware about the cultural and artistic importance of Indian miniature painting and how it helped Ai

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2

Dr., Seema Tiwari. "THE ORIGIN OF INDIAN PAINTINGS AND THE EMERGENCE OF MINIATURE SCHOOLS OF PAINTING IN INDIA." International Journal of Research - Granthaalayah 7, no. 11(SE) (2019): 146–49. https://doi.org/10.5281/zenodo.3585116.

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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 k

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3

Dhiman, Rekha. "MUGHAL CARPET COLOR MAKING PROCESS (WITH REFERENCE TO THE JAHANGIR ERA)." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (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

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4

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 (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 k

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5

Kaur, Jasminder. "CHAMBA RUMAL: THE PAINTING BY NEEDLE." International Journal of Research -GRANTHAALAYAH 5, no. 6 (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 th

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6

Jasminder, Kaur. "CHAMBA RUMAL: THE PAINTING BY NEEDLE." International Journal of Research - Granthaalayah 5, no. 6 (2017): 18–32. https://doi.org/10.5281/zenodo.805871.

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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 th

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7

Di Pietrantonio, Natalia. "Pornography and Indian miniature painting: the case of Avadh, India." Porn Studies 7, no. 1 (2019): 36–60. http://dx.doi.org/10.1080/23268743.2018.1532808.

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8

Anupama, C. S. "Recollecting the History of Mysore Ganjifa: An Art Historical Perspective." RESEARCH REVIEW International Journal of Multidisciplinary 9, no. 7 (2024): 164–71. http://dx.doi.org/10.31305/rrijm.2024.v09.n07.020.

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Vijayanagara Empire becomes one of the best examples for understanding the development of different art forms in southern region of India. Vijayanagara Empire is not just known for its supremacy in administration and political and economic power but also the empire shares its contribution in the field of art and culture. This research paper is an attempt to know how Vijayanagara becomes the root cause for different art forms or style of paintings such as Surpur style paintings, Tanjavur paintings, traditional Mysore painting, Ganjifa art etc. during the period of its reign. It is necessary to

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9

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 (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 mas

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10

Schimmel, Annemarie, and Norah M. Titley. "Persian Miniature Painting and Its Influence on the Art of Turkey and India." Journal of the American Oriental Society 108, no. 1 (1988): 174. http://dx.doi.org/10.2307/603279.

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11

Sharma, Sapna, and Sonika. "VARIOUS FORMS OF SRI KRISHNA IN THE TRADITIONAL PATTACHITRA STYLE OF ODISHA." ShodhKosh: Journal of Visual and Performing Arts 2, no. 2 (2021): 60–66. http://dx.doi.org/10.29121/shodhkosh.v2.i2.2021.35.

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English - In the historical context of Indian painting, if we see, then the ancient Ajanta and Bagh painting of India were influenced by Buddhism. It also reflects the activities of Indian social life of that time. Ssimilarly, Mughal and Rajput miniature paintings have presented the true from of the society of that time through their painting. Similarly, the paintings of pattachitra style changed their form by mixing these styles. In Odisha, shri Janannath is worshiped in the form of shri Krishna. This famous style arose due to the establishment of Jagannath’s form in Puri during the time of a

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12

Chishty, Mahwish. "Drones & Cultural Aesthetic." Media-N 17, no. 2 (2021): 93–111. http://dx.doi.org/10.21900/j.median.v17i2.765.

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Initially trained as a miniature painter at the National College of Arts, Lahore, Pakistan, the author has aggressively combined new media and conceptual work with her traditional practice. The work is intended to shed light on the complexity of acculturation, politics, and power. This visual essay documents and describes Chishty’s projects such as Drone Art Series and other works specifically related to Pakistan’s border relations with countries like India, China, and Afghanistan. The artist will share her inspiration and motivation behind the projects developed since 2011, including painting

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13

Чаудхари, С., and П. Гупта. "Bangdwari: the living tradition of Kangra." Iskusstvo Evrazii [The Art of Eurasia], no. 1(32) (March 30, 2024): 50–67. http://dx.doi.org/10.46748/arteuras.2024.01.004.

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В сохраняющих традиционный уклад общинах, как правило сельских, распространено народное художественное творчество, связанное с верованиями и обычаями. Среди различных форм народного, или, как его еще называют, наивного искусства встречается и монументальная живопись, росписи жилища. Развитие этого вида искусства в некоторых местах достигло высокого уровня, и даже сложились характерные стилистические направления. В статье впервые в русскоязычной искусствоведческой литературе представляется сформировавшийся в Индии стиль бангдвари. Бангдвари, традиционная живопись, распространенная среди сельски

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14

Loginova, Arina M. "Marg magazine as one of the sources of the artistic life of India in the 1930s and 1950s." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 54 (2024): 155–67. https://doi.org/10.17223/22220836/54/14.

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In the first half of the twentieth century, Indian art was undergoing major transformations that radically changed its pictorial language. Domestic and foreign researchers paid their attention to the art of India in the first half of the century. So, among Western authors, I would like to highlight a contemporary of these processes, William George Archer, British art critic Parthu Mitter who studied the formation of modern Indian painting and the relationship of Indian and European art, as well as the largest specialist in the field of painting of the Bengal Renaissance and early Indian modern

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15

Inam, Ameed. "Influence of Arts and Crafts on Indian Architecture Styles." Journal of Architecture and Civil Engineering 09, no. 12 (2024): 15–20. https://doi.org/10.35629/8193-09121520.

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The rich tapestry of Indian architecture is profoundly influenced by its diverse art and craft traditions, which have evolved over centuries. This paper explores the symbiotic relationship between arts and crafts and the architectural styles of India, examining their historical significance and contemporary relevance. It delves into traditional forms such as intricate stone carvings, frescoes, woodwork, and metal crafts that have shaped iconic structures, from ancient temples to Mughal palaces. The study further investigates how regional art movements, like the Pahari miniatures and Madhubani

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16

Kumar Tiwari, Pawanendra. "COLORS IN MEDIEVAL BOOK PICTURES AND MINIATURES." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (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 w

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17

Soucek, Priscilla P. "Persian Miniature Painting and Its Influence on the Art of Turkey and India: The British Library Collections. By Norah M. Titley Austin: University of Texas Press, 1984." Iranian Studies 19, no. 3-4 (1986): 308–11. http://dx.doi.org/10.1017/s0021086200004448.

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18

Ivanovitch, Anatol. "Persian Miniature Painting and Its Influence on the Art of Turkey and India, by Norah Titley. 272 pages, two indexes, select bibliography, 45 color plates, 83 black-and-white figures, 1 map. The British Library Reference Division, London1983. £25.00." Middle East Studies Association Bulletin 19, no. 1 (1985): 115–16. http://dx.doi.org/10.1017/s0026318400015285.

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19

-, Bijan Debnath. "Analysing Historical Paintings with Indian Regional Influences." International Journal For Multidisciplinary Research 6, no. 6 (2024). https://doi.org/10.36948/ijfmr.2024.v06i06.32618.

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Abstract: Indian paintings have a long and illustrious history that is firmly rooted in the history of Indian art. Even though there aren't many surviving early examples due to the difficult climate, the importance of paintings has persisted throughout the ancient, mediaeval, and modern periods. Indian paintings' origins can be traced back to the prehistoric era, starting with the age-old art of painting in caves. Ceramics, textiles, miniature paintings, and other media have all contributed to this rich legacy's evolution before ultimately finding expression in contemporary artistic forms. Ind

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20

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 o

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21

Ghosh, Sourabh. "Portraiture in Indian Miniature Paintings." Chitrolekha Journal on Art and Design 2, no. 1 (2018). http://dx.doi.org/10.21659/cjad.21.v2n103.

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The art of miniature painting in India traces its origin to the Buddhist manuscript Illustrations of the Pala period in Nepal and Eastern part of India in the 8th to 11th century. The Jain manuscripts in Gujrat and Rajasthan, as early as 11th century, also point towards a practice of such illustrations. These manuscripts, apart from portraying religious literature, also covered wide ranging topics such as medicine, astrology, etc. They were profusely illustrated, and were mostly inscribed on palm leaves. Apart from serving as important treatises, they were widely used as gifts during royal mar

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Ghosh, Soma. "A Garland of Melodies: Reimagining Ragamalas through the Collection of Salar Jung Museum, Hyderabad." Chitrolekha Journal on Art and Design 6, no. 2 (2022). http://dx.doi.org/10.21659/cjad.62.v6n201.

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This article is about understanding and reimagining a special category of miniature painting called ‘Ragamala’ painting. It is a special genre of Indian painting. It is the pictorial representation of an Indian musical mode or melody which is called a ‘raga’. The Indian ‘ragas’ as musical modes convey a certain ‘bhava’, an emotion or mood. This has been visualised in Ragamala paintings which translates as ’garland of ragas’ or a string of musical modes or melodies. The Indian Schools of painting have produced several paintings sets of the ragas; including ‘raginis’ which are supposed to be the

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23

Jain, Priyanka, and Marcos Steagall. "Decolonizing Picture Recitation." Link Symposium Abstracts 2020 2, no. 1 (2021). http://dx.doi.org/10.24135/link2021.v2i1.150.

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Picture recitation is the art of storytelling in verse accompanied with a visual prop like a scroll painting or a tapestry. Numerous picture recitation practices were active in India but suffered during colonization by the British in many ways. The subtle Victorian censorship of the theme of erotic expressed in the religious narratives (which formed the bulk of the picture recitation genre), the erasure of orature as primitive, the relegation of picture recitation practices as folk art and the split between picture (object and props that can be displayed in museums) and recitation (performativ

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Bania, Dimpy. "EXPLORING KRISHNA’S DEPICTION IN PAHARI SCHOOL OF PAINTINGS AS ARTISTIC EXPRESSION." ShodhKosh: Journal of Visual and Performing Arts 5, no. 6 (2024). http://dx.doi.org/10.29121/shodhkosh.v5.i6.2024.1444.

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The Pahari School of miniature paintings is an art tradition that flourished in the hilly regions of North India, particularly in the present-day states of Himachal Pradesh, Jammu and Kashmir, and Uttarakhand. This school of painting emerged in the 17th century and flourished under the patronage of various rulers and nobility.This research attempts to explore Krishna’s depiction in Pahari school of paintings to examine how these artworks symbolize artistic creativity and devotion. The study centres around the portrayal of Krishna to unveil the artistic interpretation of Krishna narrated in rel

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BREND, BARBARA. "The Study of Persian Painting." Journal of the Royal Asiatic Society, July 4, 2022, 1–9. http://dx.doi.org/10.1017/s1356186322000372.

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I do not begin at the beginning, since whatever one wishes to speak of so often follows some significant precursor, but to make a start: F. R. Martin's The Miniature Painting and Painters of Persia, India and Turkey, from the 8th to the 18th Century was published in 1912. Martin describes his book as ‘purely prefactory to a knowledge of a hitherto neglected section of art’. It is an éminence grise, a great slab of a book presumably intended mainly for collectors and so perhaps rather intimidating to students of later ages, but containing a great deal of information, a little of which we would

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Nath, Pinak Pani, and Shanti. "AESTHETICS AND VISUAL CONNOTATIONS OF RAJASTHANI FOLK ARTS: A CRITICAL STUDY." ShodhKosh: Journal of Visual and Performing Arts 4, no. 1 (2023). http://dx.doi.org/10.29121/shodhkosh.v4.i1.2023.266.

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In Indian culture folk arts like Aipan Art, Miniature Painting, Bhil Art, Dokra Art, Godna Art, Kalamkari Painting, Kalighat Painting, Kavad Art, Mural Painting, Madhubani Art, Mandala Art, Mandana Painting, Pattachitra, Phad Painting, Pichwai Painting, Sanjhi Art, Warli Painting and many more are passed down from one generation to another without changing its cultural and traditional vibrancy, that is why Indian folk arts are still alive and these are successfully taught informally. Indian folk arts are not just expressions of artists, but a way to portray their stories, memories, values, and

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HUREL, ROSELYNE. "The Disciple of the Yogini “Swallowed up” by the Tiger: Asceticism and Eremitic Life in Indian Painting." Journal of the Royal Asiatic Society, July 25, 2022, 1–21. http://dx.doi.org/10.1017/s1356186322000451.

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Abstract The long tradition of asceticism in India has an extensive iconography. It usually represents a poor and emaciated man, living on his own, occasionally with wild animals for company. Hindu and Muslim art and literature contain many such scenes, but female ascetics or yoginis only rarely appear. However, there is a seventeenth-century miniature in the Rietberg Museum which depicts the well-known subject of a young disciple visiting her guru. Seated together in a landscape in front of a thatched hut, they are surrounded by precisely painted Ustad Mansur-style flora and fauna. It was cus

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Baheti, Pallavi. "Faithful Depictions of Mahadevi Durga: A Glimpse into the Miniature Painting Collection of Goddess Durga at Salar Jung Museum, Hyderabad." Chitrolekha Journal on Art and Design 6, no. 2 (2022). http://dx.doi.org/10.21659/cjad.62.v6n206.

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India is a land of culture, faith, and religion and this land has always surprised its worshippers with miracles beyond explanation. Every tragedy has strengthened multiple narratives of belief systems and better ways of living. While the cultural consciousness has discovered a neutral source of energy to worship upon, not everyone can focus their energies on a fictitious fire of power. As humans, we tend to humanize that energy into the binaries we understand. While exploring these dichotomies, the energy representing the divine female draws us into its own web of complexities. Existentialism

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-, Archana Pathak, and Shesh Mishra -. "Ancient Manuscripts of Rajasthan: A Study on Kota Archive." International Journal For Multidisciplinary Research 5, no. 2 (2023). http://dx.doi.org/10.36948/ijfmr.2023.v05i02.2675.

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Manuscript is a big source of knowledge for our future generations. Many libraries and institutions have preserved these perishable materials as a valuable thing for research and knowledge, which is very important for the cultural and historical ethos of our nation. The large amount of manuscripts preserved in the research institutes in Rajasthan state are a good evidence of richness of Rajasthani culture, traditions and knowledge . The large artistic paintings on cloth, miniature paintings, many forms which are scribed on Tad Patras (plant leaves), Bhoj patras (birch bark of tree) Charmpatras

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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 schola

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Desvergnes, Amélie Couvrat, and Agnieszka Helman-Ważny. "Sialkoti paper used by Pahari artists: raw materials and fibre analysis." Heritage Science 12, no. 1 (2024). http://dx.doi.org/10.1186/s40494-024-01360-9.

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AbstractThis study aims to characterise the so-called Sialkoti paper used to produce Pahari drawings preserved today in the Wereldmuseum in Leiden (Netherlands) (WML). These works originate from the Punjab Hills in India (today Himachal Pradesh) and are commonly known as ‘Pahari miniature paintings’. The paper upon which these drawings are executed is said to have been produced in Sialkot during the eighteenth and nineteenth centuries when papermaking was an integral part of an overall regional economy correlated with other sectors such as agriculture and the textile industry. Although the ter

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