The Samara Regional Art Museum presents miniatures of the Rajasthani school, one of the fundamental schools of Indian miniature painting of the 16th — 19th centuries.
In one of these works, a fascinating scene unfolds in front of the viewer: a Sikh man, dressed in traditional clothes, prays in front of the figure of Krishna, next to whom stands his beloved Radha. The miniature is replete with symbolic details: at the feet of Krishna, one can see the king of birds Garuda, who holds in his hands a lotus flower and a sacred shell.
Rajput miniature painting is divided into a number of local schools, Rajasthani (Rajputana and Bundelkhand regions in northern India) and Pahari. The latter includes the Basoli, Jammu and other local schools of the mountain principalities west of the Sutlej River, as well as the Kangra School, which includes the painting schools of the mountain principalities east of the Sutlej. The miniatures of these schools illustrate numerous subjects from Indian literature and poetry, in particular the Mahabharata and Ramayana, as well as legends about Krishna and related cycles of narratives, mostly lyrical, dedicated to the subject of love.
The worship of Krishna, which has existed in India since the ancient times (for example, in the Mahabharata), became widespread in the 15th and 16th centuries. Starting from this period, the image of Krishna was often mentioned in the rapidly developing Hindi literature. In it, the myth of the shepherd hero was transformed into a symbol of universal love that overcomes the boundaries of the caste system. Krishna’s closeness to animals and nature, and his intimate insight into its secrets were also of great importance.
In miniature painting, the theme of the unrestrained love of Krishna and the herder Radha is one of the favorite motifs. The image of an Indian woman is subtly embodied in the meek Radha. The main distinguishing feature of this painting is a general lyrical, somewhat idyllic mood that permeates the entire figurative and poetic structure of the image.
The Kangra school of the 18th — early 19th century represented the heyday of Rajasthani miniature. Under the influence of Mongolian painting, elements of Realism in miniature were enhanced, for example, in the depiction of nature. In addition, features of genre painting were used for separate scenes. At the same time, the decorative skill of artists became more sophisticated, which is reflected in the sophisticated color palette, refined and complex linear rhythm of the best works of this period.
In one of these works, a fascinating scene unfolds in front of the viewer: a Sikh man, dressed in traditional clothes, prays in front of the figure of Krishna, next to whom stands his beloved Radha. The miniature is replete with symbolic details: at the feet of Krishna, one can see the king of birds Garuda, who holds in his hands a lotus flower and a sacred shell.
Rajput miniature painting is divided into a number of local schools, Rajasthani (Rajputana and Bundelkhand regions in northern India) and Pahari. The latter includes the Basoli, Jammu and other local schools of the mountain principalities west of the Sutlej River, as well as the Kangra School, which includes the painting schools of the mountain principalities east of the Sutlej. The miniatures of these schools illustrate numerous subjects from Indian literature and poetry, in particular the Mahabharata and Ramayana, as well as legends about Krishna and related cycles of narratives, mostly lyrical, dedicated to the subject of love.
The worship of Krishna, which has existed in India since the ancient times (for example, in the Mahabharata), became widespread in the 15th and 16th centuries. Starting from this period, the image of Krishna was often mentioned in the rapidly developing Hindi literature. In it, the myth of the shepherd hero was transformed into a symbol of universal love that overcomes the boundaries of the caste system. Krishna’s closeness to animals and nature, and his intimate insight into its secrets were also of great importance.
In miniature painting, the theme of the unrestrained love of Krishna and the herder Radha is one of the favorite motifs. The image of an Indian woman is subtly embodied in the meek Radha. The main distinguishing feature of this painting is a general lyrical, somewhat idyllic mood that permeates the entire figurative and poetic structure of the image.
The Kangra school of the 18th — early 19th century represented the heyday of Rajasthani miniature. Under the influence of Mongolian painting, elements of Realism in miniature were enhanced, for example, in the depiction of nature. In addition, features of genre painting were used for separate scenes. At the same time, the decorative skill of artists became more sophisticated, which is reflected in the sophisticated color palette, refined and complex linear rhythm of the best works of this period.
