BPSC-GS1 Flashcards

1
Q

<p>Mauryan Art: intro?</p>

A

<p>Although the tradition of art and culture in Indian subcontinent was started during the Indus Valley Civilisation, but lost the continuity in later period of time. Art and craft tradition got continuity only during the Mauryan Period.</p>

<ol><li>Court art</li><li>Folk art</li></ol>

Mauryan art is the art produced during the period of the Mauryan Empire, which was the first empire to rule over most of the Indian subcontinent, between 322 and 185 BCE.

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2
Q

<p>Mauryan Art: Court Art: palaces?</p>

A

Patliputra capital, excavated at Kumrahar, Patna
features
It has been described as Perso-Iionic, with a strong Greek stylistic influence, including volute, bead and reel, meander or honeysuckle designs.

This palace had 80 pillars, these pillars were made up of single piece of rock. They were more or less similar to an Ashokan pillar, smooth, polished and made of grey Chunar sandstone

The floor and ceiling of the palace was made up of wood.

The length and breadth of the whole palace was 140 ft. and 120 ft. respectively.

The pillars have gold vines and silver Birds

Attractive wooden stage in the Assembly.

The palace stood in an extensive park studded with fish ponds. It was furnished with a great variety of ornamental trees and shrubs.

The Greek ambassador Megasthenes mentions that the capital city of Pataliputra was encircled by a massive timber-palisade, perforated by holes or slits through which archers could shoot. It had sixty-four gates

Greek traveler Megasthenes portray the castle of the Maurya Empire as probably the best creation of humanity and Chinese Traveller Fe Hien called Mauryan royal residences as God-gifted monuments. Yunaian traveller, Arian compared the grandeur of the Palace of Chandragupta Maurya with the palaces of Susha and Ekbatna (world’s most famous cities of the that time)

other examples: The Mauryan capital at Patliputra, Ashoka’s Palace at Kumrahar

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3
Q

<p>Mauryan Art: Court Art:Pillars?</p>

A

The best specimens of the modern period are the Monolithic pillars of Ashoka which are found in different parts of the country for the propagation of Dhamma.
monolithic stones
These pillars were carved in two types of stone. Some were of the spotted red and white sandstone from the region of Mathura, the others of buff-coloured fine grained hard sandstone usually with small black spots quarried in the Chunar near Varanasi.
Height of columns from 30 to 50 feet.
While most Ashoka pillar edicts were in Pali and Prakrit language, few were written in Greek or Aramaic language also.
usually composed of four parts. Namely Shaft, capital, Abacus, and capital figure.

Shaft: A long shaft formed the base and was made up of a single piece of stone or monolith.

Capital: On top of shaft lay the capital, which was either lotus-shaped or bell-shaped.

Abacus: Above the capital, there was a circular or rectangular base known as the abacus.

Capital Figure: All the capital figures (usually animals like a bull, lion, elephant, etc) are vigorous and carved standing on a square or circular abacus.
Example- Sarnath Lion Capital, Vaishali pillar, lauriya nandangarh, lauriya areraj.

They were given a fine polish characteristic of Mauryan sculpture.

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4
Q

<p>Mauryan Art: Court Art:stupas?</p>

A

Thestupais a Sanskrit word that means a heap.
It originated as asimple semi-circular mound of earth, which was later calledAnda. Gradually with time and the addition of artwork it evolved and got transformed into a more complex structure. The tradition of erecting stupas may have been pre-Buddhist, but they came to be associated with Buddhism.

Diagram
https://1drv.ms/u/s!AvN_8sA-Zf0djUlaP96lfP1rnBbS?e=Slg2gn
According the scriptures of Buddhism Ashoka had made 84000 stupas across the country. But this claim is controversial as evidences of such a huge number of stupas are not found but it is possible that they were demolished in later periods.

Stupas werebuilt at places that were regarded as sacred. Sacred because these places were related toBuddha’s life. Relics of the Buddha such as hisbodily remains or objects used by himwere buried under these mounds and these mounds are known asa stupa.

In the early stages, Buddha was represented through symbols that represented the different events of Buddha’s life like footprints, lotus thrones, chakras, stupas, etc.

Later on, Jataka stories (stories associated with the previous birth of Buddha) were portrayed on the railings and torans of the stupas.

structure

The simple semi-circular mound of earth is calledAnda, above this anda is theharmika, a structure resembling a balcony it represents the abode of the gods.
Rising above from the harmika is a mast called theYashti, often surmounted by achhatrior umbrella. Around the mound is a railing known as Vedika.
The Circumbulatory path between the railing and the Anda is known asPradakshina.
The Entrance gate is calledTorana.
material used : The core of the stupa was made of unburnt brick while the outer surface was made by using burnt bricks, which were then covered with a thick layer of plaster and medhi and the toran were decorated with wooden sculptures.
Examples

Sanchi Stupa in Madhya Pradesh is the most famous of the Ashokan stupas.

Piprahwa Stupa in Uttar Pradesh is the oldest one.

stupas were built over eight set of relics. They are at Allakappa by Bulis (location unknown), atKapilvastu (modern day Piprahwa in UP) by Shakyas , at Kushinagar by Mallas, at Pava (near modern day Kushinagar), at Rajgriha (Magadhan capital) by Ajatshatru, at vaishali (capital of Vajjinas), at Ramagrama, a city of koliya kingdom (in modern day Nepal), and at Vethapida by Vethapida Brahmanas,

Stupa at Bairat, Rajasthan: Grand stupa with a circular mound and a circumambulatory path.

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5
Q

<p>Mauryan Art: Court Art:caves?</p>

A

Viharas were basically the residences of Buddhist Monks. These were made by cutting mountains in either rectangular or circular form.
During the Maurya time caves were utilized as “viharas” the living quarters by the Jain and Buddhist priests. The caves during the Mauryan period are marked by a highly polished finish of the inside walls and carved gateways.
Important examples of Viharas in Bihar are Barabar and Nagarjuni Caves in Gaya. These were made by mainly Ashoka and his grandson Dashratha.

Some other examples of Viharas(Buddhist Caves) are Sudama, Karna, Chaupar, Gopi, Vaddhika, Vishwa Jhopdi etc.

https://1drv.ms/u/s!AvN_8sA-Zf0djUrTiJ0mDM3ZiqED?e=mEbelc

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6
Q

<p>Mauryan Art: Folk Art: sculpture?</p>

A
also seen as part of royal pillars
examples
 Lauria Nandangarh
  East Champaran, Bihar
  Lion
 Lauria Areraj
  East Champaran, Bihar
 NO capital figure
 Rampurva I & II
  west Champaran, Bihar
  Ox
 Sarnath
  Lion
 Sankisha, UP
  elephant

In folk art, The Statue of yaksha and Yakshi are the most important sculptures from this period. these were the object of worship related to all the religions i.e. Jainism Buddhism and Hinduism.

These sculptures were made up of stone.

On these sculptures shiny polish was used to be done, which adds to their beauty and sculptures became more realistic

examples:
A statue of two Jain saints from lohanipur

The sculpture of a woman and a boy from Bulandi Bagh

Yakshini statue found at Didar Ganj (it has the characterestic Mauryan lusture bt its age is debated)

The stone elephant at Dhauli was also probably carved by local craftsmen and not by the court-based artists who were responsible for the animal capitals. The image of the elephant emerging from the rock is a most impressive one, and its purpose was probably to draw attention to the inscription nearby.

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7
Q

Mauryan Art: Folk Art: Terracota objects?

A

Popular terracotta objects of various sizes have been found at Mauryan sites, and elsewhere, and are probably the most numerous Mauryan works of art.

They are found more commonly from Pataliputra to Taxila.

Many have stylized forms and technically they are more accomplished, in that they have a well-defined shape and clear ornamentation. Some appear to have been made from moulds, yet there is little duplication.

Terracotas from Taxila consists of deity figures, votive reliefs with deities, toys, dice, ornaments and beads.

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8
Q

Mauryan Art: Ringstones?

A

The ringstone is a distinctive type of artefact and miniature sculpture made in India during the approximate period of the Mauryan Empire and the following Sunga Empire

They are shaped like a doughnut, but with straighter sides, and flat and plain on the bottom.

They are in stone, with the top side very finely carved in relief with several circular zones of decoration running around the hole in the centre.

Typically the innermost zone, which runs down the sloping sides of the hole, has standing female figures, often nude or nearly so, but with jewellery and elaborate hairstyles, with trees in between them.

Their purpose, and any practical function, remains unclear and “enigmatic”. They may have a specific religious purpose, or a more general one promoting fertility

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9
Q

<p>Mauryan Art: folk Art:pottery?</p>

A

Use of the potters wheel became universal.

These potteries were being made by people for their daily needs as well as for decorative purposes one of the most characteristic features.

Pottery of the Mauryan period is usually referred to as Northern black polished ware (NBPW). The pottery was characterized by Black paint and a highly lustrous finish was Generally used as a luxury item.

Kaushambi and Patliputra were the centers of NBPW pottery.

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10
Q

<p>Mauryan Art: Court Art:comparison with Persian pillars?</p>

A

comparison with Persian (Achaemenian) pillars

similarities

Polished Stones and Motifs: Both Maurya and Achaemenian pillars, used polished stones and have certain common sculpture motifs such as the lotus.

Proclamations: Maurya’s idea of inscribing proclamations (related to Buddhist teachings and court orders) on pillars has its origin in Persian pillars.

Third Person: Inscriptions of both empires begin in the third person and then move to the first person.

Differences

The Capital Figure: It was absent in Mauryan pillars of the Kumhrar hall whereas pillars at Persepolis have the elaborate capital figures.

The Shape and Ornamentation: The shape of Mauryan lotus is different from the Persian pillar.

Pillar Surface: Most of the Persian pillars have a fluted/ ridged surface while the Mauryan pillars have a smooth surface.

Architectural Scheme: The Achaemenid pillars were generally part of some larger architectural scheme, and bit complex and complicated, while the Ashokan pillars were simple and independent freestanding monuments.

Shaft: Unlike Mauryan shafts which are built of monolith (single piece of stone), Persian/Achaemenian shafts were built of separate segments of stones (aggregated one above the other).

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11
Q

<p>Mauryan Art: Court Art: significance?</p>

A

The Mauryan Art is a valuable treasure of India it gives us pride and self-confidence. Apart from the national emblem of India. The fact that the Sanchi stupa was the model for the Rashtrapati Bhavan is quite obvious.

It represented an important transition in Indian art from use of wood to stone. Kautilya in the Arthashastra advises the use of brick and stone for their durability. Yet he devotes a large section to safeguards to be taken against conflagrations in wooden buildings indicating their popularity.

The name Bihar is derived from the word viharas i.e. residence of Buddhist monks.

Mauryan arts give evidence of centralized administration of kingdoms and their continuity in Bihar.

helped in propagation of Buddhism

gives an account of Mauryan times and helps to piece together evidence to learn about the life at that time.

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12
Q

<p>Mauryan Art: Court Art: criticism?</p>

A

<p>Many historians such as John Marshall and Persi Brown considered that the Mauryan Art was influenced with (inspired from) Iranian Art Forms.<br></br>Some of them said that the Mauryan Palace was a carbon copy of the palaces of Armenian Empire of Iran.</p>

<p>Pillars of Mauryan Period was also considered as the inspiration of Iranian pillars with slight variations in their architecture. </p>

<p>Mauryan Art (especially court Art){ was highly religious in nature, which restricted the appearance of cultural ethos and other aspects of the society of that period.<br></br></p>

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13
Q

<p>Pala Art: intro?</p>

A

<p>developed during the medieval period between 8th-12th century under the aegis of Pal rulers.</p>

<p>Pal rulers were Buddhist followers, which can be seen in the art forms of Palas very easily.</p>

<p>Pal Art included various forms of art and crafts which include a splendid Architectural art forms (Mahavihar, Chaityas, Temples and Stupas), sculptures (bronze and stone made) and Paintings (manuscript and wall Paintings).<br></br></p>

<ol><li>Architectural art forms</li><li>paintings</li><li>sculptures</li></ol>

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14
Q

<p>Pala Art: Architectural art forms?</p>

A

<ol><li>Mahaviharas</li><li>Chaityas</li><li>Temples</li><li>Stupas</li></ol>

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15
Q

<p>Pala Art: Architectural art forms: mahaviharas?</p>

A

<ul><li>Mahaviharas were made during Pal rule mainly for residential purposes for Buddhist monks. But Mahavihars also served as important Buddhist educational centers.</li><li>Mahaviharas were generally in rectangular in structure, which included an open courtyard in the middle.</li><li>All around the courtyard, porch/veranda was used to be made, in which gates of rooms were opened.</li><li>Some Mahaviharas in which gates of rooms were opened.</li><li>Some Mahaviharas had double storeyed rooms and stairs for the 2nd storey rooms were made in the courtyard.</li><li>Diagram<br></br>https://1drv.ms/u/s!AvN_8sA-Zf0djUY7WfyCmwtWw2mI?e=8E4Z7Y</li><li>some important Mahaviharas<br></br>Vikramshila Mahavihar: Bhagalpur by Dharmapal<br></br>Odantpuri Mahavihar: Biharsharif by Gopala<br></br>Sompur Mahavihar: Naogaon (BN) by Dharmapal<br></br></li></ul>

Odantpuri Mahavihara (750-770) was so magnificent that it was used as a model for the first Tibetan monastery.
Between the 9th and 12th century AD, the Buddhist world-recognized Somapura Vihara and Vikramasila Vihara as two prominent centers of Buddhist study. There are also the ruins of a temple and a stupa at Vikramshila.

These Viharas were the great centers of learning. Many scholars came to these centers from far and wide.
And, these Buddhist Viharas had a significant influence in the spread of Buddhism in Nepal, Tibet, Sri Lanka, and many other countries.

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16
Q

<p>Pala Art: Architectural art forms:chaityas?</p>

A

<p>These were basically a kind of Buddhist temples.</p>

<p>The tradition of building Chaityas were old but these got diversification during Pal rule.</p>

<p>Many remains of Chaityas can be found from different parts of Bihar.<br></br></p>

17
Q

<p>Pala Art: Architectural art forms:temples?</p>

A

<p>Although Pal rulers were Buddhist but they also made many temples of Hinduism.</p>

<p>These temples were basically made in the famous Vanga style.</p>

<p>examples<br></br>Gufa mandir at Kahalgaon, Bhagalpur; features a gabled vaulted roof typical of South Indian architecture<br></br>Vishnupad Mandir at Bodh Gaya; an imp feature of this temple is Ardh Mandap<br></br></p>

Siddheswara Temple, in Barakar, WB: prominent shikhara; amongst the oldest rekh-deul (a towering curving shikhara capped by a huge amalaka) temples in West Bengal; The temples have Shivalingams and deity of Ganesha and Durga. Many stone deity of Lord Vishnu have been discovered in the complex

Ramapala established the city of Ramvati, which included a variety of temples.

18
Q

<p>Pala Art: Architectural art forms:Stupas?</p>

A

<p>Although culture of stupas were ancient but some stupas were also made during Pal period with slight differentiation.</p>

<p>Stupas had multiple parts, which include Yashti, Chhatra, Harmika, Gumbad, Pradakshina Path, Vedika, and Toran Dwar.</p>

<p>Diagram<br></br>https://1drv.ms/u/s!AvN_8sA-Zf0djUcldx3J10VS5Set?e=ueZefR<br></br></p>

ruins of a temple and a stupa have been found at Vikramshila.

19
Q

<p>Pala Art: paintings?</p>

A

<ol><li>Manuscript paintings</li><li>wall paintings</li></ol>

20
Q

<p>Pala Art: Paintings: Manuscript paintings?</p>

A
  1. Palas was considered the founder of the Miniature form of painting in India and established the Pala School of Painting.
  2. Palm leaves were used to write manuscripts and on these manuscripts, the painting was done along with the text. Also done on copper plate.These were used for decorating purposes.
  3. Scenes from Buddha’s life, as well as gods and goddesses from Mahayana sects, are shown in these paintings.
  4. Also, the Tantra’s influence was clearly seen in these paintings.
  5. The primary colors used in these paintings are red, blue, black, and white.
  6. Astasahasrika-Prajnaparamita (The Perfection of Wisdom in Eight Thousand) and ‘Panchraksh’ are two important miniature paintings. Both of these works of art are housed in the Cambridge Museum (England).
  7. Sinuous lines, delicate and nervous lines, sensuous elegance, linear and ornamental accents, and subtle colour tones are all hallmarks of Pala art.
  8. Dhiman and his son Vitpala were great sculptors and painters of the Dharmapala and Devapala periods.
  9. At Buddhist centers such as Nalanda, Odantapuri, Vikramshila, and Somapura, a vast number of manuscripts on palm-leaf relating to Buddhist subjects were composed and decorated with images of Buddhist deities.
  10. Students and pilgrims at these centers brought specimens of Pala Art back to their nations in the form of manuscripts, which helped in spreading the Pala style to Nepal, Tibet, Burma, Sri Lanka, and Java.
21
Q

<p>Pala Art: Paintings:Wall paintings?</p>

A

<p>Besides manuscript painting, wall paintings were also used to be done on the walls of Mahavihar, Chaityas, temples etc.</p>

<p>In these paintings various elements like fruits, flowers, animals, humans, birds and trees were imprinted.</p>

<p>One of the best examples of wall paintings of Pal period is a wall painting found from Saraisthala (Nalanda). In this painting a woman can be seen doing make-up, while looking into a mirror. This painting shows the human emotions along with art simultaneously.</p>

<p>The influence of Ajanta and Bagh painting may be seen because the methods of creating images and painting are extremely similar.</p>

<p>Although the artwork has faded, certain images such as elephants, horses, dancers, and Bodhisattvas can still be seen. </p>

<p>Pala style is naturalistic, evoking the ideal shapes of contemporary bronze and stone sculpture while also evoking a sense of Ajanta's classical art<br></br></p>

22
Q

<p>Pala Art: Sculptural art forms?</p>

A

<p>The Pala school of sculptural art is recognised as a distinct phase of the Indian art, and is noted for the artistic genius of the Bengal sculptors<br></br>It is influenced by Gupta Art</p>

<p>The majority of the sculptures were inspired by Buddhism. A conspicuous and beautifully carved black-slab and lotus-seat, frequently supported by lions, distinguish Buddhist statues. Buddha is represented in a standing position in the Abhaya mudra and in a seated position in the Bhumisparsa mudra and Dharmachakra mudra.A female bust and Buddha seated in 'Bhumisparsha Mudra,' from this school are the best.</p>

<p>Aside from Buddha, Hindu gods and goddesses such as Surya, Vishnu, Ganesh, and others were sculpted. Maheshwara (influenced by Tantrism) was even more popular than Ganesha among the many Shaiva idols. During the 11th and 12th centuries, Vaishnava sculptures were also created.</p>

<p>During this time, the style of sculpture changed from "Post-Gupta" to a distinctive style that was widely influential in other areas and later centuries. Deity figures became more rigid in posture, very often standing with straight legs close together, and figures were often heavily loaded with jewellery; they very often have multiple arms, a convention allowing them to hold many attributes and display mudras. </p>

<p>The typical form for temple images is a slab with a main figure, rather over half life-size, in very high relief, surrounded by smaller attendant figures, who might have freer tribhanga poses. </p>

<p>Slim and graceful forms, as well as exquisite jewellery, were hallmarks of the Palas style.</p>

<p>Critics have found the style tending towards over-elaboration. The quality of the carving is generally very high, with crisp, precise detail. In east India, facial features tend to become sharp<br></br></p>

<ol><li>Bronze sculptures</li><li>Stone sculptures</li></ol>

23
Q

<p>Pala Art: Sculptural art forms: Bronze sculptures?</p>

A

<p>Much larger numbers of smaller bronze groups of similar composition have survived than from previous periods. Probably the numbers produced were increasing. These were mostly made for domestic shrines of the well-off, and from monasteries. Gradually, Hindu figures come to outnumber Buddhist ones, reflecting the terminal decline of Indian Buddhism, even in east India, its last stronghold</p>

<p>These are made up of bronze using molds.</p>

<p>These sculptures were erected in huge numbers, mostly in monastery places such as Nalanda, Bodh Gaya, and others. Metal casting (bronze casting) was practiced to a high level at the University of Nalanda, where it appears to have been taught as part of the curriculum.</p>

<p>One of the main characteristic features of these sculpture were excellent ornamentation used in them.</p>

<p>Another important feature of these sculptures was that they were plain from behind despite being ornamented and decorated from front.</p>

<p>Dhiman and Vithpal were two important sculptors of Nalanda, they were contemporary of Dharma Pal and Devpal (Pal rulers).</p>

<p>Bronze sculptures are found in large numbers from Kulkihar (Gaya), Nalanda and Sultanganj.</p>

<p>These sculptures can be compared with the aesthetics of the Natraj sculptures of Chola Empire.</p>

<p>These sculptures were mainly religious in nature, which include sculptures various god and goddesses of Hindus and Buddhists.</p>

<p>Important examples of this sculpture style were of Buddha, Vishnu, Balram, Bodhisatavas etc.<br></br></p>

24
Q

<p>Pala Art: Sculptural art forms: Stone sculptures?</p>

A

<p>Besides Bronze sculptures, sculptures were also made out of stones. The stones used for making these sculptures were mainly basalt. Which were brought from either Munger or Santhal Pargana.</p>

<p>Similar to bronze sculptures, ornamentation was also done in stone-made sculptures.<br></br></p>

25
Q

Pala Art: Terracota?

A

During the Pala period, terracotta (earthenware) was developed in artistic and attractive shapes.

This work was created with the intention of being decorative particularly to make the walls more adorable.

Along with depictions of religious issues, the artists have picked subjects from people’s ordinary lives.

Beautiful and artistic clay images from the Buddha period have been discovered.

Along with Buddha and Bodhisattvas, many images of Hindu gods such as Vishnu, Sun and Hanuman were also depicted in Terracotta.

The ruins of Vikramshila Mahavihara have yielded some significant findings.

The drawing on a wooden plate depicting a lady sitting in a posture with a mirror in her hands, beholding herself in the mirror, is an amazing example of creative beauty.

The terracotta plaques discovered in Paharpur (Bihar) are excellent examples of the Pala period’s art.
These plaques, which are mostly utilized for wall surface decorating, have been recognized as a one-of-a-kind masterpiece by Bengal painters.

The Pala period is without a doubt when clay art reached its pinnacle.

26
Q

<p>Pala Art: Critical analysis?</p>

A

<p>Architectures in Pal period were generally made out of burnt Bricks instead of stones and rocks, which resulted into lesser permanence and availability now.</p>

<p>Sculptures of Pal art were plain from behind and only focus was on front.</p>

<p>Ornamentation was heavily used in the Pal sculptures, which hide the real beauty of the sculptures.</p>

<p>In Pal art religious aspects had more prominence that social, cultural and political aspects.<br></br></p>

27
Q

<p>pala Art: conclusion?</p>

A

<p>The Pal rulers maintained the tradition of art and culture developed during Mauryan Period raised them to a new level.</p>

<p>Multiple art forms developed vehemently during the period of Pal rulers. Despite the triangular conflict among Palas, Rashtrakutas and Gurjar-pratihars for occupation of Kannauj, various art forms were flourished during the Pal periods without any impediments.</p>

<p>The Pala style was inherited and continued to develop under the Sena Empire.<br></br></p>

28
Q

<p>Patna Qalam Paintings: about?</p>

A

<p>world's first independent school of painting which dealt exclusively with the commoner and his lifestyle</p>

<p>Principal centers were Patna, Danapur and Arrah.<br></br></p>

<p>origin</p>

<p>features</p>

<p>artists</p>

<p>present status</p>

<p></p>

29
Q

<p>Patna Qalam Paintings:Origin?</p>

A

<ul><li>is an off-shoot of Mughal painting.<br></br></li><li>The origins of Patna Kalam are obscure and largely known from Ishwari Prasad’s account : the artists, a family of Kayasths, first lived in the Partabgarh district of Udaipur Rajputana, then migrated to the Mughal court around the 16th century. Declining patronage during the reign of Emperor Aurangzeb (1658 – 1707) was probably why the artists migrated to Murshidabad where, in addition to painting for their Nawabi patrons, they also created portraits for the European gentry.<br></br></li><li>However, in the aftermath of the Battle of Plassey (c.1757), Mir Jaffar’s son Miran alias Mohamed Sadiq Khan – ‘Nasir-ul-Mulk, Ala-u-Dowlah’ – drove the Hindu artists, amidst others, to migrate once more – this time to Patna. This group of migrants laid the foundation of what is now known as the Patna School of Painting. In Patna they came under patronage of local aristocracy and often Indophile scions of the early EIC<br></br></li><li>watercolour painting of the Chhat Festival of Bihar is believed to be one of the earliest examples of painting made for the British by Indian artists in Patna. In the painting, you see women gathered at the banks of the river, making offerings to the Sun God.<br></br></li></ul>

30
Q

<p>Patna Qalam Paintings: features?</p>

A

<ul><li>regarded as an off-shoot of Mughal painting, with influences from Persian and the Company painting style developed for British customers<br></br><ul><li>portraits can be clearly seen having colours and linings from Mughal style, and the shading can be seen to be adopted from the British style</li></ul></li><li>But distinct from Mughal paintings as well<br></br><ul><li>Diverging from the Mughal and Persian style of wide and exquisitely decorated borders, Patna Kalam primarily focused on the subject of the painting.<br></br></li><li>Unlike Mughal painting, which focused on the royalty and court scenes, flag bearers of Patna Kalam were deeply influenced by daily life of common man, also a common subject in Company painting.<br></br></li><li>The Patna School tradition developed an individualistic style and technique, very different from the usual Mughal School (due to the the Persian influence) and the less formal Rajput School. Moreover, the Patna artists made their own pigments, brushes and paper as their ancestors did in the Mughal courts.<br></br></li><li>The color scheme of the Patna paintings underwent a change over the period of its evolution. The bright Mughal colors gave way to the fashionable somber hues of the print (when the picture was intended for a European market).</li></ul></li><li>Patna paintings have a formalized precision, and are characterized by the perfect contours in facial features.</li><li>Pigments used to paint the subjects were derived from readily available natural sources.<br></br>eg. Safaida color from a particular kind of earth from Kashgar, Blue from Indigo, red from red earth found near Kanpur</li><li>Their main subjects were local festivals, ceremonies, bazaar scenes, local rulers, and domestic activities</li><li>The paintings were done on diverse surfaces such as paper, mica, and even ivory diskettes, that were used as brooches.</li><li>A distinguishing characteristic of Patna Kalam is lack of any landscape, foreground or background.</li><li>Another characteristic was the development in the shading of solid forms.<br></br><ul><li>In the early pictures shadow was painted by the old Mughal technique -darker tones of the same colour were applied. In the later versions of the painting, the shadow is shown with soft washes of color, just as in an English watercolor.<br></br>https://i1.wp.com/www.theheritagelab.in/wp-content/uploads/2021/09/Patna-Kalam-19thc.jpg?ssl=1</li></ul></li><li>Patna Kalam paintings are painted straightway with the brush without marking with pencil to delineate the contours of the picture and the procedure of painting is popularly known as 'Kajli Seahi.'<br></br></li></ul>

31
Q

<p>Patna Qalam Paintings:Artists?</p>

A

<ul><li>Some well known painters of Patna Kalam were Sewak Ram, Hulas Lall, Shiv Lal, Shiva Dayal, Mahadeo Lal, and Ishwari Prasad Verma.<br></br></li><li>some famous paintings<br></br>Nautch girls in a court (1860) – Shiva Lal<br></br>Passenger in an Ekka by Shiva Lal (circa 1820-80). Patna<br></br></li><li>Sewak Ram<br></br><ul><li> was an artist retained in the Durbar of the then Maharaja of Benares<br></br></li><li> In 1790, he migrated to Patna after his patron’s death and worked in the city until 1826.<br></br></li><li>An unusual feature of Sewak Ram’s work was the Kajli seahi technique, which required considerable skill in painting what were really ‘miniatures’. The smaller the dimensions of the picture, more difficult was the required brush touch.<br></br></li><li>Through his work, we get a glimpse into the festivals, culture and lives of people in Patna, icl Chhat, Holi, Muharram and Cattle fairs.<br></br></li></ul></li><li>Shiva Lal and Shiva Dayal<br></br><ul><li>From 1850 to 1880, Patna painting was dominated by the work of two brothers<br></br></li><li>Shiva Lal was called the Shahi Musavvir. The ‘Shahi’ salutation indicates that his family originally worked for the royal atelier (Mughals).<br></br></li><li>Shiva Dayal was retained in the Durbar of Rai Sultan Bahadur, a Rais of Patna City.<br></br></li></ul></li><li>Ishwari Prasad<br></br><ul><li>grandson of Shiva Lal<br></br></li></ul></li></ul>

32
Q

<p>Patna Qalam Paintings:today?</p>

A

<p>In the last decade of the 19th century, after the death of Shiva Lal and Shiva Dayal Lal, their studios too ceased to exist. One of the main reasons for the collapse was the advent of photography. The new technology fascinated everyone and reproductions of ‘Indian life’ became quicker and were surely more reliable.</p>

<p>Only three collections of Patna Kalam paintings exist in Bihar, one at the Patna Museum and others at Khuda Baksh library, Patna, and Patna University’s College of Arts and Crafts.<br></br></p>