Wall Paintings of Rajasthan

SR No.: 001588
Original Sutra Author: N/A
Author: Dalsukh Malvania, Nagin J Shah
Publisher: L D Indology Ahmedabad
Publication Year: 1980
Total Pages: 64
Language: English
Classification: Book_English & Art
File Size: 25 MB

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floral motifs and Rāgini pictures. Unfortunately the miniatures which represent the revival of style are badly damaged. But whatever that is spared gives an idea of the excellent work that was done by the traditionalists of the Jaipur Gharānā. The small lunette of the polo-players is seen on the arch of the central door-way. What effect of richness, lavishness and aesthetic pleasure this beautifully painted abode would have created on the minds of the people who had lived there, remains only to be imagined now.
19. SCENES OF BAKASURA-VADHA AND NARSIMHA AVATARA:
The panel is on the top portion of the main gate-way of the Ramji Mandir at Galta. The motifs of the composition are interesting in the sense that they are decoratively treated by the artist. Look at the decorative use made of the divided pillar from which the God Vishnu, in the form of half animal and half man is emerging. The rākshasa is being torn asunder on the lap of the God. Similarly, Krishna killing Bakāsura is symbolically represented by a flying bull near the frame of the panel. The designing of the Bakāsura's ten hands with all the ayudhas' is interesting in its pattern making.
20. KRISHNA RIDING AN ELEPHANT OF COMPOSITE FIGURES OF WOMEN:
The theme of composite figures was common in Persian as well as Indian paintings. Right from Ajanta artists (composite figures of four deers at Ajanta) to the late 19th century Moghul and Rajput miniatures, the use of such artistic device was made by the clever artisan-painters. Krishna is riding the elephant composed of Gopis and controlling the elethant's gait with a lotus goad (ankusha) which is symbolic of Krishna's love-lores that fill the pages of Indian mythological works like Bhagavata Purāna.
21. MOTHER AND CHILD:
Portrait of an English or Dutch lady with her child. The painter must have been attracted by the dress and hat of the lady. It also reflects the influence of the Dutch or English engravings that flooded the Indian market and adorned the homes of the educated gentlemen who imitated the manners and the mode of life of the Europeans who came to India in the middle of the 19th century.
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