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	[[File:Nihâl_Chand_001_cropped.jpg\|thumb\|220px\|An 18th-century Rajput painting by the artist [[Nihâl Chand]].]]		[[File:Nihâl_Chand_001_cropped.jpg\|thumb\|220px\|An 18th-century Rajput painting by the artist [[Nihâl Chand]].]]
	[[File:Godhuli, Mewar, ca1813.jpg\|thumb\|''Godhuli'', [[Mewar]], ca. 1813]]		[[File:Godhuli, Mewar, ca1813.jpg\|thumb\|''Godhuli'', [[Mewar]], ca. 1813]]
	'''~~[[Rajasthani painting\|~~Rajput]] painting''', also called '''Rajasthan painting''', evolved and flourished in the royal courts of [[Rajputana]] in northern India, mainly during the 17th ~~and 18th centuries~~. Artists trained in the tradition of the [[Mughal miniature]] were dispersed from the imperial Mughal court, and developed styles also drawing from local traditions of painting, especially those illustrating the Hindu religious epics, the ''[[Mahabharata]]'' and ''[[Ramayana]]''.		'''Rajput painting''', also called '''Rajasthan painting''', evolved and flourished in the royal courts of [[Rajputana]] in northern India, mainly during the 17th century. Artists trained in the tradition of the [[Mughal miniature]] were dispersed from the imperial Mughal court, and developed styles also drawing from local traditions of painting, especially those illustrating the Hindu religious epics, the ''[[Mahabharata]]'' and ''[[Ramayana]]''.

	Subjects varied, but portraits of the ruling family, often engaged in hunting or their daily activities, were generally popular, as were narrative scenes from the epics or [[Hindu mythology]], as well as some [[genre painting \|genre scenes]] of unnamed people.		Subjects varied, but portraits of the ruling family, often engaged in hunting or their daily activities, were generally popular, as were narrative scenes from the epics or [[Hindu mythology]], as well as some [[genre painting \|genre scenes]] of unnamed people.

	The colors were extracted from certain minerals, plant sources, conch shells, and were even derived by processing precious stones. Gold and silver were used. The preparation of desired colors was a lengthy process, sometimes taking 2 weeks. ~~Brushes used~~ were ~~very fine~~.		The colors were extracted from certain minerals, plant sources, conch shells, and were even derived by processing precious stones. Gold and silver were used. The preparation of desired colors was a lengthy process, sometimes taking two weeks. Traditionally, fine brushes were the norm.{{Citation needed\|date=April 2022}}

	== Content ==		== Content ==

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{{More citations needed|date=January 2013}}
[[File:Nihâl_Chand_001_cropped.jpg|thumb|220px|An 18th-century Rajput painting by the artist [[Nihâl Chand]].]]
[[File:Godhuli, Mewar, ca1813.jpg|thumb|''Godhuli'', [[Mewar]], ca. 1813]]
'''[[Rajasthani painting|Rajput]] painting''', also called '''Rajasthan painting''', evolved and flourished in the royal courts of [[Rajputana]] in northern India, mainly during the 17th and 18th centuries. Artists trained in the tradition of the [[Mughal miniature]] were dispersed from the imperial Mughal court, and developed styles also drawing from local traditions of painting, especially those illustrating the Hindu religious epics, the ''[[Mahabharata]]'' and ''[[Ramayana]]''.

Subjects varied, but portraits of the ruling family, often engaged in hunting or their daily activities, were generally popular, as were narrative scenes from the epics or [[Hindu mythology]], as well as some [[genre painting |genre scenes]] of unnamed people.

The colors were extracted from certain minerals, plant sources, conch shells, and were even derived by processing precious stones. Gold and silver were used. The preparation of desired colors was a lengthy process, sometimes taking 2 weeks. Brushes used were very fine.

== Content ==
While there exist a plethora of themes in Rajput paintings, a common motif found throughout Rajput works is the purposeful manipulation of space. In particular, the inclusion of fuller spaces is meant to emphasize the lack of boundaries and inseparability of characters and landscapes. In this way, the individuality of physical characters is almost rejected, allowing both the depicted backgrounds and human figures to be equally expressive.

Outside of a purely artistic standpoint, Rajput paintings were often politically charged and commented on social values of the time. Mewars rulers wanted these painting to portray their ambitions and establish their legacy. Therefore, paintings were often indicative of a ruler's legacy or their changes made to better society.

Both of these factors clearly distinguish Rajput paintings from Mughal works. While, from a chronological standpoint, both of these cultures clashed with one another, Rajput paintings only superficially adopted Mughal fashion and cultural standards. Elements, such as precise likenesses in portraiture, utilized by popular Mughal artists ([[Govhardhan (Mughal painter)|Govhardhan]], Hashim, etc.) are not found in Rajput work. Likewise, Rajput techniques are not predominantly seen in [[Mughal painting]]s: "At the opening of the eighteenth century, therefore, Rajput painting remains recognizably different in intent from traditional Mughal attitudes"<ref>Beach, 175</ref>

== Schools ==
[[File:Maker unknown, India - Krishna and Radha - Google Art Project.jpg|thumb|''Krishna and Radha'', might be the work of [[Nihâl Chand]], a master of the Kishangarh school trained at the imperial court in Delhi.<ref>{{cite news|title=Krishna and Radha|url=http://www.philamuseum.org/collections/permanent/76766.html|access-date=26 October 2018|publisher=Philadelphia Museum of Art}}</ref>]]
In the late 16th Century, Rajput art schools began to develop distinctive styles, combining indigenous as well as foreign influences such as Persian, Mughal, Chinese and European.<ref>{{cite book|last=Neeraj|first=Jai Singh|title=Splendour Of Rajasthani Painting|year=1991|publisher=Abhinav Publications|location=New Delhi|pages=13|isbn=9788170172673|url=https://books.google.com/books?id=PGjTjmL29VIC&q=shekhawati+painting&pg=PP15}}</ref> Rajasthani painting consists of four principal schools that have within them several artistic styles and substyles that can be traced to the various princely states that patronised these artists. The four principal schools are:
# The [[Mewar]] school that contains the [[Chavand, Rajasthan|Chavand]], [[Nathdwara]], [[Devgarh, Rajasthan|Devgarh]], [[Udaipur]] and [[Sawar]] styles of painting
# The [[Marwar]] school comprising the [[Kishangarh]], [[Bikaner style of painting]] from [[Bikaner]], [[Jodhpur]], [[Nagaur]], [[Pali, Rajasthan|Pali]] and [[Ghanerao]] styles
# The [[Hadoti]] school with the [[Kota, Rajasthan|Kota]], [[Bundi]] and [[Jhalawar State|Jhalawar]] styles and
# The Dhundar school of [[Amber, India|Amber]], [[Jaipur]], [[Shekhawati painting]] and [[Uniara]] styles of painting.

==See also==
[[File:The main centers of the Rajput painting.jpg|thumb|Main centres]]
* [[Tanjore painting]]
* [[Mughal painting]]
* [[Dalchand]], an 18th-century Rajput artist

==Notes==
{{Reflist}}

==References==
* [[Milo C. Beach|Beach, M]], (1992). 1700–1800: The Dominance of Rajput Painting. In ''Mughal and Rajput Painting'' (The New Cambridge History of India, pp. 174–213). Cambridge: Cambridge University Press. doi:10.1017/CHOL9780521400275.008
*Kossak, Steven. (1997). [http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/12335/rec/74 ''Indian court painting, 16th-19th century.''] Metropolitan Museum of Art. {{ISBN|0870997831}}

==Further reading==
* ''The City Palace Museum, Udaipur: paintings of Mewar court life''. by [[Andrew Topsfield]], Pankaj Shah, Government Museum, Udaipur. Mapin, 1990. {{ISBN|094414229X}}.
* ''Splendour of Rajasthani painting'', by Jai Singh Neeraj. Abhinav Publications, 1991. {{ISBN|81-7017-267-5}}.
*''Art and artists of Rajasthan: a study on the art & artists of Mewar with reference to western Indian school of painting'', by Radhakrishna Vashistha. Abhinav Publications, 1995. {{ISBN|81-7017-284-5}}.
* ''A study of Bundi school of painting'', by Jiwan Sodhi. Abhinav Publications, 1999. {{ISBN|81-7017-347-7}}
* ''Court painting at Udaipur: art under the patronage of the Maharanas of Mewar'', by Andrew Topsfield, Museum Rietberg. Artibus Asiae Publishers, 2001. {{ISBN|3-907077-03-2}}.
* ''Rajput Painting'', by [[Ananda K. Coomaraswamy]], Publisher B. R. Publishing Corporation, 2003. {{ISBN|81-7646-376-0}}.
* ''The artists of Nathadwara: the practice of painting in Rajasthan'', by Tryna Lyons. Indiana University Press, 2004. {{ISBN|0-253-34417-4}}.
* Ghosh, P. (2012). The Intelligence of Tradition in Rajput Court Painting. ''Art Bulletin'', ''94''(4), 650–652.
*[[William Dalrymple (historian)|Dalrymple, William]], (2016). [http://www.nybooks.com/articles/2016/11/24/the-beautiful-magical-world-of-rajput-art/] ''The beautiful, magical world of Rajput art.''] New York Review of Books, November 26, 2016.

==External links==
* [http://www.indianart.ru/eng/rajput/index.php Indian medieval painting schools - Rajput painting]

{{commons category|Rajasthan style}}

[[Category:Rajasthani arts]]
[[Category:Schools of Indian painting]]
[[Category:Illuminated manuscripts]]

Rajput painting - Revision history

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