explain full rajasthani school of art from paranomic Indian painting book .. in easy language
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INTRODUCTION
V|/ITH a tradition spanning two millennia, Indian painting is as
* * remarkable Tor its continuity as for the variety ofits styles.
The series of National Programme talks broadcast from All India
Radio during September-October 1965, and brought together
here, throws light on the different aspects and phases of the long
evolution of Indian Painting.
The compilation does not claim to be comprehensive ; it
attempts to cover, with lucidity combined with expertise, the
great epoclu and the major distinctive styles of Indian painting.
In the opening talk, Dr. O. C. Gangoly makes a fascinating
collation of data from artefacts and the earliest literary strata to
reconstruct the beginnings of the tradition. In the study or
Ajanta and Bagh, the first great efflorescence, Sri Asok Mitra has
an original contribution to make regarding the treatment of pers-
pective. In the cultural sphere, India has given bountiful gifts
to the world and assimilated as readily intimations from abroad.
Dr. Moti Chandra studies the Indianisation of the Persian minia-
ture under the Mughals. Dr. Nihar Ranjan Ray tracts the
perfect blending of Western Indian and Persian miniature
traditions in Rajput art, while Dr. Randhawa deals with the fresh-
ness and lyricism acquired by this art when transferred to the pic-
turesque valleys of the Himalayan piedmont. And lasdy, Sri
Sanyal surveys the contemporary scene when the Indian painter
confronts myriad challenges represented by the dissolution, of
tradition and the accelerated coming together of cultural and
stylistic impulses from all over the world.
CONTENTS
The Glorious Beginning
O. C. Gangolj j
The Ajanta and Bagh Styles
Asnk Mitra 5
Mughal Painting
*frft" Chandra 12
The Rajput Style
XAtT Ranjan Ray jg
The Kangra School
M. S. Randhawa 25
Modern Tndian Painting
B. C Sanyal 29
THE GLORIOUS BEGINNING
O. C. Gangoly
is well known that a new and brilliant horizon has been
A presented to the history of Indian painting by the epoch-
making discovery of the records of the Indus Valley culture at
Mohenjo-Daro, at Chanehu-Daro and at Harappa and other
related centres in the Indus Valley in Sind, with analogous painted
pottery at a place called Nal in Baluchistan, just across the Indian
border. The enormous quantity of painted pottery, mostly in
fragments, which has been dug up at these prehistoric sites, dat-
able between 3,000 and 2,250 years B.C., provides astonishing
data and materials for the study of pictorial art. These reveal
a developed phase of an art of wonderful aesthetic merit, dis-
tinguished by highly imaginative and naturalistic quality and mar-
vellous power of design and of invention.