Marwar painting

The earliest influence on Marwar style can be traced to the murals of Ajanta, of which, the door of Mandor is the finest example. According to Tarachand, this style is related to Sringdhar which traces the origin of Marwar style to the confluence of local art styles and Ajanta frescoes.[1] Marwar School was initially influenced by Mewar School also but through illustrations of Jain manuscripts, Marwar came to be acknowledged as a separate school (1532 – 68). As early as 1519, manuscripts of Uttradhayayana Sutra was painted in this style, which is now in the collection of Baroda Museum. It also shows a relationship with Gujarat as the titles of the paintings are given in Gujarati language and script.[2]

Because of the Mughal influence, the Marwar miniatures were inspired by their art. We can see the influence in the Bhagawat of 1610 in which Arjuna's and Krishna's costumes are just like Mughals, but the facial features envision a Rajput noble. The Gopis or female companions of Krishna are dressed akin to women of Marwar but the elaborate ornaments adorning them betray Mughal imperial grandeur.[3]

Maharaja Jaswant Singh (1626 – 1678) ushered in great activity in the field of painting. Court life, royal portraits, and Krishna related themes were most popular during his time. The history of royal patronage is reflected in the choice of subjects of the paintings. During the era of Aurangzeb and Ajit Singh, a lot of paintings influenced by Mughal subjects were painted. The mythological and lyrical paintings were made at the time of Vijay Singh and Man Singh, in which Panchatantra Suknasika character and Nath character were frequently put in centerstage.[4] Many of these paintings can be now seen in the Maharaja's Pustak Prakash Library and quite a few are periodically displayed in the Mehrangarh Fort Museum, Jodhpur. Man Singh was a follower of Nath cult and an illustrated manuscript of Nathacharita was prepared under his patronage.[5]

During the late 18th-century, Marwar painting was characterized by an excessive emphasis on lavish costumes, human figures, and vibrant colors. As the 19th-century progressed, the style of these paintings became even more ornamental and primarily depicted courtly life.

Marwar painting is typically done on paper, cloth, or walls using natural colors made from mineral and vegetable sources. The artists use a fine brush made of squirrel hair to create intricate designs, which often depict scenes from Hindu mythology, local folklore, and historical events.

Marwar painting is known for its rich iconography, which includes deities, animals, birds, and plants. The paintings often depict scenes from the Ramayana and Mahabharata, as well as local legends and folktales. The artists also draw inspiration from nature, incorporating images of birds, flowers, and other natural elements into their work. Sociological subjects were quite popular in eighteenth century in this style. Character of Panchatantra and Suknasika, potter, washerman, labourer, wood-cutter, hunter, barber, waterman, goldsmith, businessman, panibarin, milkman, gardener, farmer and their related lives were painted frequently. The traditional Ragamala paintings were also commons subjects.[7][8] Drawings of places, forts, and majestic buildings catered to the royal taste but the depiction of scenery catered to the taste of Marwari capitalists.[9]

Located near the Marwar border, Devgarh Thikana, though situated in Mewar borders show a deep impact of Marwar style. The grandeur of the Marwar school of painting was well-expressed in Jodhpur style. Alongside this, Bikaner style emerged from it as an independent school while Kishangarh style became world renowned. Substyles of Jaisalmer, Nagaur, Sirohi, Ghanerao, also became distinct.[9] Many temples of the region have murals beside the more popular miniature art.[11] Marwar murals are simple in execution as well as in arrangement and have used the stucco technique as well as tempera.[12]