Magnifying the Miniature

Reflections by Young Artists

The darbar of Cornelis van den Bogaerde Coloured by Aparna Ram, 16 years old

Parrot perched on a mango tree, ram tethered below Coloured by Manha Asrar, 10 years old

Mamiki with Vajra on a lotus Coloured by Kirtana Vottery, 10 years old

Bani Thani Coloured by Snigdha, 10 years old

Magnifying the Miniature

What are miniature paintings?

As per Asian traditions, miniature paintings, which were very illustrative in nature, originated in the decoration of manuscripts. Also developed into small, single-sheet illustrations to be kept in albums, these paintings flourished in the times of political stability with the interest of patrons. Traditional Indian miniature painting began around the 10th century and was at its peak during the Mughal period. It deteriorated in the middle of the 18th century. However, in some regions this art continued till the 19th century. Patronised by the British in some regions, it was called “Company painting.”

Miniature paintings are generally very colourful and describe the culture of the period they were drawn in. The skin colour of Lord Krishna and Rama is blue. The colour of human hair and eyes is black, and people are shown wearing traditional Indian dress, headgear, jewellery and footwear. Historic landscape like trees, rivers, flowers, birds, animals, as well as the land and sky are done in great detail. Traditional houses, furniture, pavilions and fountains have been painted, too. Court scenes were often painted to commemorate a historic event.

How were miniature paintings made?

base:

The early paintings, starting in the 11th century, were done on palm leaves, as it was only around the 14th century that paper became available. Three kinds of paper were used: bansaha (crushed bamboo), taatha (jute) and tulat (bleached cotton). In other methods, rags, linen, and silk waste from textile weaving were used to make paper for miniature paintings. Paintings were also done on silk cloth and almost-translucent ivory sheets.

pigments:

Burnt conch shell and zinc white (safeda) were used for white colour, and lamp black (kajal) and burnt ivory for black. Red ochre (geru), red lead (sindoora), and insects were used for red, while indigo (a vegetable colour) and ultramarine were used for blue. Yellow ochre, orpiment (a mineral) and peori (extracted from the urine of cows fed on mango leaves) were used for yellow. Gold and silver foils were also used. Seashells were used as a palette to mix colours.

painting techniques:

A white primer coat was done as the sketch was drawn. This surface was thoroughly polished in order to see the outline clearly. Then a second outline was drawn with a fine brush. The background was coloured first and then the landscape details. Human figures were painted last, after which a final outline was drawn.

training:

The artists learnt painting techniques in an atelier (studio/workshop) system. Father taught the art to his son who guarded the method as a well-kept secret, and new entries to studios were quite rare.

PUNJAB HILLS GARHWAL

Classification of Miniature Paintings

The tradition of miniature painting in India can mainly be classified into the following schools.

• Early Eastern, Early Western and Pre-Mughal Traditions

• Pahari Miniature Painting

• Rajasthani Miniature Painting

• Mughal Miniature Painting

• Central Indian Miniature Painting and

• Deccani Miniature Painting

In the following pages, you will get to learn more about each of these schools, and also have an opportunity to colour famous miniature paintings yourself!

Miniature Paintings Through Time

Eastern Indian Miniature Painting

Miniature paintings developed in different parts of the Indian subcontinent over a long period of time, from the 11th century onwards, with different media and techniques.

The oldest surviving examples are identified as the Eastern school of miniature paintings from the Buddhist tradition, depicting the Mahayana Buddhist deities, under the Pala rulers (8th–12th century) in Eastern India, Bangladesh and Nepal. The Buddhist monks passed on knowledge though texts written on palm leaf strips and illustrated with the images of Buddhist deities. The monasteries, which became centres for such art and education, were visited by students and pilgrims from all over Southeast Asia. Pala Buddhist art travelled to Nepal, Tibet, Burma, Sri Lanka and Java with knowledge seekers. This style seems to have disappeared by the 13th century. The main reason is that many of these monastic libraries were destroyed by Turkish invaders late in the 12th century. This forced the monks and painters to flee to the Himalayan region.

Mamiki with Vajra on a lotus, from Ashtasahasrika Prajnaparamita Sutra, 11th century

The Ashtasahasrika Prajnaparamita (Perfection of Great Wisdom) Sutra was originally written at the Buddhist monastery in Nalanda, India, during the reign of Pala rulers. The manuscript has illustrated palm leaves with painted wooden covers. Surviving examples of Pala manuscripts look quite similar to the wall murals of Ajanta (Aurangabad, Maharashtra).

Western Indian Miniature Painting

Contemporary to Buddhism, Jainism was developing in Western India. The Jaina paintings were done on taadpatra (palm leaf), paper and cloth between 10th to 15th centuries. In Western India during 13th and 14th centuries, the Jain merchants of Gujarat contributed to the building of libraries and patronage of sacred texts, such as Kalpasutra and Kalkacharyakatha, which were produced around this time. Approaching the 16th century, a certain variation in style is observed due to Persian influence.

Mahavira plucks out his hair, Kalpasutra, early 15th century

The Jaina text Kalpasutra was written to chronicle the life of Lord Mahavira.

Pre-Mughal Miniature Painting

This period saw the intermingling of indigenous and Persian traditions (through Islamic rulers), which is reflected in both visual and performing arts. Even though it was short-lived, this tradition played an important role in the emergence of the Mughal school of miniature painting.

In Eastern India, there were paintings done on Bal Gopal Stuti and Geet Govind. The paintings accompanied texts in religious manuscripts and mythological epics. With the dawn of the Mughals in the mid-16th century, miniature painting with Persian influence took shape in Indian courts.

Krishna the butter thief, Bhagwat Purana, 1550

Rajasthani Miniature Painting

This style of painting developed in the western parts of India from the 17th century onwards. This tradition of painting has its roots in the soil of Rajputana. The main centres were Mewar, Bundi–Kota, Kishengarh, Jaipur, Jodhpur (Marwar) and Bikaner. The subjects were mostly religious and literary texts written in Sanskrit, and folk literature. The inspiration came from the Bhakti cult of Vaishnavaism and Krishna lila and religious texts like Ramayana and Mahabharata. The works of poets like Jaydeva, Behari, Bhushan and Matiram also provided the themes for these paintings. Rajasthani painting is noted for its diversity of styles.

facing page | Bani Thani by Nihal Chand, Kishengarh, 1748–64

following pages | Mughal emperor Akbar with Miya Tansen and Swami Haridas, Jaipur-Kishengarh mixed style, late 18th century

Krishnagopala milking, Nathdwara, 1820

Pichhwai paintings were used in temple decoration. The name “pichhwai” derives from the Hindi word peechhe, which means “behind”, as the paintings were hung behind the idols of Lord Krishna, or Shrinathji.

First published in India in 2020 by MapinPublishingPvt.Ltd

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Text and Illustrations © Madhu Vottery

All rights reserved under international copyright conventions. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission in writing from the publisher.

The moral rights of Madhu Vottery as author of this work are asserted.

ISBN: 978-93-85360-45-9

Copyediting: Mithila Rangarajan / Mapin Editorial

Design: Darshit Mori / Mapin Design Studio

Production: Mapin Design Studio

Printed at Thomson Press (India) Ltd.

The author would like to thank Dr A. Nagender Reddy, Sri M. Veerender and Smt Soma Ghosh at Salarjung Museum; Smt Sunita M Bhagwat at Telangana Tourism; and Dr Jagdish Mittal and Dr V. Suguna Sarma.

About the author

Madhu Vottery is a practising conservation architect based in Hyderabad, India. She has received awards from the Andhra Pradesh Tourism Board and the State Level Monitoring Committee for her involvement in the Heritage Walks of Hyderabad. She was also recently felicitated by the REACH Foundation’s Heritage Award 2019 for her role in creating awareness about the heritage and culture of Telangana.

CHILDREN’S BOOK

Magnifying the Miniature

Madhu Vottery

48 pages, 50 illustrations

8.5 x 10” (216 x 254 mm), pb

ISBN: 978-93-85360-45-9

₹295 | $9.50 | £5.95

2020 • World rights

Reflections by Young Artists

The sultan of Mandu directing the preparation of sweets Coloured by Aditi Kedia, 11 years old

Raag Harsha

Coloured by Aryan Kumar, 11 years old

Nayika

Coloured by Ishan Edlabadkar, 11 years old

India has a long history of exquisite miniature painting, with many varied styles emerging from different regions. Magnifying the Miniature aims to bring these paintings out of museums and into the home! This beautiful colouring book introduces younger artists to the delights of Indian miniatures by providing hand-drawn examples of several iconic paintings. Join author and artist Madhu Vottery on an exciting journey through India to discover this wonderful art form!