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R
ajasthani miniatures emerged as a distinct style by the
beginning of the 17
th
century when the Mughal Empire
started to lose its stronghold. Artists who were not employed
in the Mughal imperial ateliers, or who were later forced to leave under
the reign of Aurangzeb, found employment in the courts of Rajput
princes, and miniature painting thrived under the patronage of the
rulers of Kishangarh, Mewar, Bikaner, Kota, Bundi, and Jaipur.
Rajasthani paintings are identifiable by “...the more lyrical approach of
Rajasthani artists and the pleasure they derived from pure lines and
colours.” (Arpana Caur,
The Magic of Indian Miniatures
, New Delhi:
Winsome Books India, 2007, p. 108) Many of the artists remained
anonymous and did not enjoy the privilege of status that their Mughal
counterparts did. Themes recurred, but artists from each region
addressed them in their own manner. “Apart from representations of
official scenes, portraits of noble lords and powerful sovereigns, Rajput
painters dealt with scenes from everyday life, religious festivals and
ceremonies, mythological subjects and, in particular, episodes from the
legend of the hero and god Krishna...” (Mario Bussagli,
Indian Miniatures
,
Middlesex: The Hamlyn Publishing Group Ltd., 1969, p. 131)
Map of India (detail) from Stella Kramrisch,
Painted Delight: Indian Paintings from Philadelphia Collections
,
Philadelphia: Philadelphia Museum of Art, 1986, p. xxiii