Raga Hindola-Miniature Painting

The painting personifies Raga Hindola as a handsome young man resting on a golden swing covered with garlands of flowers. The lacquered frame of the swing is decorated with replicas of lotus buds. His diadem is adorned with peacock feathers and lotus buds. His attire is smeared with yellow and crimson color indicating indulgence in the festival of colors Holi. A group of charming attendants surround him and attend to his requirements while he languorously gazes at them.

Hindola literally refers to the swing. It is a song of spring and indicates the joy of Holi festival

About Miniature Paintings

Miniatures are intricate, colorful illuminations or paintings, small in size, executed meticulously with delicate brushwork. The history of Indian Miniature Paintings can be traced to the 6-7th century AD. Miniature Paintings have evolved over centuries carrying the influence of other cultures. The miniature artists gave self-expression on paper, ivory panels, wooden tablets, leather, marble, cloth and walls. Indian artists employed multiple perspectives unlike their European counterparts in their paintings. The idea was to convey reality that existed beyond specific vantage point.

The Kangra Miniatures of the Pahari School made a mark in the 18th century. Though influenced by the Mughals, the Kangra School retained its distinctiveness. The paintings were naturalistic and employed cool, fresh colors. The colors were extracted from minerals, vegetables and possessed enamel-like luster. Verdant greenery of the landscape, brooks, springs were the recurrent images on the miniatures. Texts of the Gita Govinda, Bhiari's Satsai, and the Baramasa of Keshavdas provided endless themes to the painters. Krishna and Radha as eternal lovers were portrayed rejoicing the moments of love. The Kangra miniatures are also noted for portraying the famine charm with a natural grace. The paintings based on Ragmalas (musical modes) also found patronage in Kangra.

Kangra Painting

Pahari paintings, as the name suggests, were paintings executed in the hilly regions of India, in the sub-Himalayan state of Himachal Pradesh. It is in the development and modification of Pahari paintings, that the Kangra School features. Under the patronage of Maharaja Sansar Chand (c.1765-1823), it became the most important center of Pahari painting.
This great art originated in a small hill state ‘Guler’ in the Lower Himalayas in the first half of the 18th century when a family of Kashmiri painters trained in Mughal painting Style sought shelter at the court of Raja Dalip Singh (r. 1695-1741) of Guler. The rise of Guler Paintings started in what is known as the Early phase of Kangra Kalam. The new arrivals mingled with the local artists and were greatly influenced by the atmosphere of the hills. Instead of painting flattering portraits of their masters and love scenes, the artistes adopted themes of eternal love between Radha and Krishna. The paintings were naturalistic and employed cool, fresh colors. The colors were extracted from minerals, vegetables and possessed enamel-like luster. Verdant greenery of the landscape, brooks, springs were the recurrent images on the miniatures.


  Between the late 18th century and early 19th century, the whole Kangra valley and adjacent Punjab plains, were home of a very sensitive and highly emotional band of artists who were responsible for the ushering in of the Kangra school of paintings. Krishna legends as subjects predominate in this school. Their chief feature is their expressive line, in which they may be regarded as a continuation of the Ajanta tradition. The faces of women in profile have noses almost in line with the forehand. Their eyes are long and narrow and the chins are sharp.





Introduction
 The miniature paintings produced at the court of Rajput kings form a distinct group and they were contemporary with miniatures produced in the Moghul court at Delhi. The majority of the paintings are small in size. The interaction between the Rajputs and the Moghul Emperors, resulted in the fusion of the indigenous Rajasthani miniature style and the Persian influence of the Moghul style. Consequently, these paintings are popularly known as Rajasthani or Rajput paintings. When Emperor Aurangzeb came to power, the painters in the Moghul Court left Delhi due to his puritanical attitude. They migrated to various Rajput kingdoms which patronised them. Under the Rajput Kings, the Rajput painting developed a new dimension. Rajput paintings like their Moghul counterparts are called Rajasthani Miniatures.

     The chief quality of Rajput paintings is their idealistic representation of the emotional aspects of Hindu life. The themes are varied and sentiments of love and devotion mingle with an exuberant joy of life, the common subject matter being the Krishna legends.

     An important class of Rajasthani miniatures is the series of Ragamalas or the paintings of musical modes. Every Raga and Ragini. Each of them represent an emotional situation based some mood of love, either in union or in separation. The Rajput paintings representing the Ragas of Bhairavi, Malhar and Narkamodi, Dhansari, Siyam Ramkali, Mapsari and Mankali, Berari and Bahbas were displayed in the main hall of the National Art Gallery. These depict the mood or scene which each Raga symbolises. The Ragini (Raga symbolised as a lady) is also dressed and shows facial expressions besides doing the act symbolised by the Raga. Most of the Ragini paintings bear exquisite paintings and a verse depicting the particular mode. The work is written either on the top or on the bottom of the paintings. The verses are usually in Gujarati and Marwari Script.