Bagyi Aung Soe, “The Miniature Paintings of Ancient India”, in From Tradition to Modernity, Yangon: Khin May Si Sapay, 1978, 74-85.1
74 “Indian Miniature” [English] or small Indian painting is unlike the Western oil-on-canvas; only one or two persons can view it at one time. It is more similar to Burmese parabaik painting. When Indian “Paintings” [English] are smaller in size, they are seen as miniatures, as is Rajasthani painting. It is hard to identify the original creators of Indian art. Most of them are still unknown, with the exception of some Mughal artists. However, given that the art of painting is... 75 … placed fourth on the list of the sixty-four arts which the wise should master, according to classic Indian literary works, the importance of Indian painting is evident. It is much older than Indian miniature. Findings prove that it began in the 11th century BCE, but as those paintings were on walls or the potshards, it is not easy to determine the time. Most Indian miniatures illustrate Krishna, the lives of Yama, the male and female protagonists and music and the seasons. Earlier miniatures are found in classic literary works, palm-leaf manuscripts and Buddhist manuscripts. “Prajnaparamita”, one of the ancient Mahayana Buddhist manuscripts, contains many miniature illustrations. They are simple but of appropriate scale. Like the classical paintings on the walls of the Ajanta caves, their gentle grace comes from the strong line work. In fact, miniatures are … 76 … works displaying rich effects of shade and light and harmonious rhythms. Miniatures paintings can go straight to the heart of painting. In a straightforward and sincere manner, it foregrounds what the artist has in mind. Usually, they are not landscapes or if they are, the views are no more than what should be and the colours are mostly ultramarine, vermillion, yellow and green – raw colours. Pala was one of the religious dynasties with paintings in that style. It was influential in the regions of Bengal and Bihar during the 11th century to 13th century. Another well-known dynasty with paintings in the Indo-Western style emerged between the 11th and 16th century in India. It can be assumed that paper has been used in the west of India since early 12th century. After the 14th century, the use of paper in painting became common. The figures’ poses and styles …
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This translation only conveys the gist of the article, not all the nuances. Bagyi Aung Soe, “The Miniature Paintings of Ancient India”, in From Tradition to Modernity, Yangon: Khin May Si Sapay, 1978, 74-85.
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77 … enliven the works. The lines were initially strong, vigorous and hard, but later became thinner and more graceful. The miniature portraits show the faces in the frontal or three-quarter position, usually with eyes placed high on the cheeks. It is a flat style of painting, and the background is usually maroon in colour with the lines in gold. They used gold lavishly. Anyway, it was the Mughal Empire that established and encouraged the future development of Indian miniatures. Under the rule of Humayun, good relations were established with the Persian Empire which inspired much excitement and passion for the art. In 1555, after confiscating Agra Palace, Humayun brought the famous Persian artists with him. Akbar, Humayun’s son, continued his father’s legacy. After the 16th century, Persian artists were integrated into the industry, working alongside Hindu artists in building the Italian everlasting palace. 78 After him, the emperors Jahangir and Shah Jahan continued to express fondness for art. As the subject matter of Mughal paintings was mostly about the empire’s religion, worldly affairs and obligations, they are mostly beautiful and exceptional representations. In addition to painting books, Mughal artists also painted portraits of the emperors, kings and emperor’s counsellors and generals. They did not fail to include illustrations of palaces and other buildings, hunt scenes and animal combats too. Actually, Mughal paintings are famous for their size which is way too small, their composition, their figures and styles, their use of thin outlines and abundant gold paint. The backgrounds are in the right distance, with the right hue and depiction of nature. The emperor called Jahangir was fond of paintings with birds and other animals in them, which were created by the royal artist Mansur. Under his rule, European paintings … 79 … and techniques were the furore. Many Indians back then gained the ability of critiquing the quality and standard of European works. It was the reverse at that time in the West. The famous Western artists Rembrandt and Sir Joshua Reynolds were fond of Indian miniatures. Willem Schellinks, a famous 17th-century Dutch artist, was really fond of the outstanding Mughal paintings. The modern artist Mantis [?] was also obsessed with the Persian miniatures. He emulated in particular the idea of small distinct figures could make the “volume” of art. In Deccan where “Ahmedneger” [English; sic], Bijapur and Golconda are situated, a style of painting combining the Velanaga [?] murals and Persian art was popular. The paintings called “Deccani” are easily recognisable because of their small size and … 80
Bagyi Aung Soe, “The Miniature Paintings of Ancient India”, in From Tradition to Modernity, Yangon: Khin May Si Sapay, 1978, 74-85.
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… drawings. Moreover, the amount of gold used in the paintings way exceeded contemporary usage. Other popular paintings, simple in style, are those of the Rajasthani style. As the 16th century was electrifying with the renascence of music, the freedom of worship and the development of regional languages, Rajasthani subject matter was characterised by music, Krishna’s life stories and the lives of protagonists from contemporary poems and rhetorical compositions. Rajasthani paintings show the faces in profile. There are scenes of nature and architecture at times, which are mostly represented in combination. The lines are pure and elegant. Few colours may be used, but they are lively. Since they portray the main themes simply and sincerely, … 81 … they can be termed “native” [English]. It is strong, simple and basic. In the cities of Rajput such as Udaipur, Bikaner, Jodhpur, Bundi, Kota, Jaipur and Kishanganj, distinctive art styles emerged through the combination of earlier stylistic properties. The soft strokes and detailed compositions in the ancient paintings are no longer discerned in the Udaipur paintings. The ancient colour combinations and contrasts, and the depiction of the sky and ground are however still present on the overall. In the Bundi style of painting, the characteristics of Mughal painting are quite influential. The faces of women are round and flawless, and the lips are thin. In the paintings from Bundi and Kota, the leaves, branches and flowers are painted differently as the focus is on hunting scenes set in mountains and forests. Bikaner paintings are the combinations of Rajput, Deccani and Madhubani [?] styles. The smooth “Drawing” [English], colours and scenic views are from the Deccani paintings… 82 … while the figures are in style of the Rajput. The Rajasthani style in Jaipur paintings is clearly seen in the middle of the 18th century. Meanwhile, in Jodhpur and Malwa, paintings turned to the Rajasthani style. Paintings with the gentle and smooth lines of Jaipur back then were confined to the court. Jodhpur paintings, in particular, are more poetic and varied than other paintings. Nature is always beautifully painted in bright colours with distinct lines and lively strokes. They create a sense of movement. The movements of poetic Rajasthani paintings are influential and powerful in the Kishanganj style. These paintings are “Romantic” [English] with bright, distinct and beautiful compositions. They are infused with the flavour of magnificence of the mediaeval period. The winds of renovation hit the regions in the Himalaya … 83 … and at the end of the 17th century, the Basohli School of Art came into being. From it sprang the brightest colours in Indian art. In the space bordered by wide bands of pale colours, lovers in orange, Bagyi Aung Soe, “The Miniature Paintings of Ancient India”, in From Tradition to Modernity, Yangon: Khin May Si Sapay, 1978, 74-85.
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yellow, brown and other warm tones embrace. The female figures are no longer lifeless poetic symbols but have the strength and force of the male figures. There is also the trademark use of emerald and forest green. In the middle of the 18th century, these painting styles have dwindled. But after re-establishing the Mughal Empire, paintings from different regions in the mountain ranges – Jammu, Napa, Belapur, Kullu and Garichwa [?], as well as Gulla and Kangra – emerged. These are priceless treasures of the Indian heritage. People in mountain ranges have been very supportive and respectful. 84 They glorify the heroines of their culture by painting them in the traditional style, and hence the grace of the lines. The purity of their aims and the sincerity of their adoration make the works great. In the 19th century, many Western influences can be seen, and the appreciation of art also underwent changes. The Pahari style went from flat surfaces and harmonious colours to mere “Art of Surfaces” [English]. The high skill declined, and art became another commodity. With cheap paints coming into the market, miniature art met its death. The study of the values, history and end of Indian miniature paintings which are the life and blood of national Indian art is quite interesting. If we are to strive for the renaissance of Burmese painting, we must not forget the rise and fall of Indian miniature painting and be warned not to allow the same to happen [to Burmese painting]. 85 Moreover, it would be a good thing to thoroughly study and analyse the invaluable art of traditional sculpture and architecture in the history of Burmese culture. Art, sculpture and architecture are in fact the ambassadors of the spirit of Burmese tradition.
Translated by Pann Hmone Wai
Bagyi Aung Soe, “The Miniature Paintings of Ancient India”, in From Tradition to Modernity, Yangon: Khin May Si Sapay, 1978, 74-85.
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