Company Paintings

During the colonial period, a hybrid style known as Company Painting emerged, combining Indian traditions with European techniques. British officials employed Indian painters trained in Mughal and Rajput styles, who adapted their art to European tastes.

These paintings are characterised by the use of watercolours, linear perspective, shading and realism. The style originated in centres such as Kolkata, Chennai, Delhi, Patna, Varanasi and Thanjavur. Prominent patrons included Lord Impey and Marquess Wellesley. Famous painters were Sewak Ram, Ishwari Prasad and Ghulam Ali Khan. The genre remained prevalent till the 20th century.

Mysore Paintings

Mysore paintings were patronised by the rulers of the Mysore kingdom and continued even during the British period. The primary theme is the depiction of Hindu gods and goddesses. These paintings typically contain two or more figures, with one dominant figure larger in size and richer in colour.

A distinctive feature is the use of “gesso paste,” made from zinc oxide and Arabic gum, which gives a luminous background. Muted colours are then applied to balance the sheen, making Mysore paintings visually elegant and refined.

Tanjore Paintings

The Thanjavur or Tanjore School is famous for its distinctive decorative style of painting. It flourished under the patronage of the Maratha rulers during the 18th century. These paintings are unique as they are mostly created on glass and wooden boards instead of cloth and vellum, which were preferred in North India. A striking feature is the use of brilliant colour schemes and the liberal application of gold leaf.

Gemstones and cut glass pieces were used as embellishments to create larger-than-life images. Most paintings depict Lord Krishna in various poses and episodes from his life. The art reached its zenith under the patronage of Sarfoji Maharaj, a great patron of arts. Although still practiced today, artists have expanded themes to include birds, animals, landscapes and buildings.

Marwar School of Painting

The Marwar School is one of the most extensive schools of Rajasthani painting, encompassing Jodhpur and Bikaner, ruled by the Rathods, and Jaisalmer, ruled by the Bhatis. Like Bikaner, Jodhpur was a desert kingdom that prospered through close ties with the Mughal Empire. In the paintings of the 15th and 16th centuries, both men and women are depicted wearing colourful attire.

During the early period, Mughal artistic patterns were followed, but after the 18th century, Rajput elements became more prominent. This later phase saw an emphasis on linear rhythm combined with bright colours. The Jodhpur atelier produced many outstanding works, particularly during and after the reign of Man Singh (1803–1843). He commissioned extensive illustrated series such as the Shiva Purana, Natacharitra, Durgacharitra, and the Panchatantra.

Amber–Jaipur School of Painting

The rulers of Amber were closely associated with the Mughal court and were major patrons and collectors of painting. Despite this, the identity of the Amber School is less clearly defined than that of other schools, partly because much of its collection remains unpublished and in private hands.

Also known as the Dhundar School, its earliest evidence is found in wall paintings at Bairat in Rajasthan. Paintings are also seen on the palace walls and mausoleum of the Amer Palace. Although some figures wear Mughal-style clothing and headgear, the overall style of these paintings remains distinctly folk in nature.

This school reached its peak during the reign of Sawai Pratap Singh in the 18th century. A deeply religious ruler and passionate patron of art, he encouraged the production of miniature paintings in the suratkhana (department of painting). These included illustrated manuscripts of the Bhagavata Purana, Ramayana, Ragamala, and several portraits.

Bundi School of Painting

The twin kingdoms of Bundi and Kota, collectively known as Hadoti, share closely intertwined histories and artistic traditions. These sister states were formed by the division of the older Bundi kingdom between two brothers. Although both developed rich artistic traditions, Kota, the younger kingdom, became particularly known for its remarkable paintings and eccentric patrons.

The rulers of Bundi and Kota were devout followers of Krishna and, in the 18th century, declared themselves mere regents ruling on behalf of the god, who was considered the true king. This Krishna-bhakti strongly influenced their paintings. Special paintings were also commissioned for later rulers, including Rao Ram Singh II.

In the Bundi School, local vegetation is depicted in great detail. Human faces are generally round with pointed noses. The sky is painted in different colours, and a red ribbon-like form is often visible in the sky.

Kishangarh School of Painting

The Kishangarh School of Painting is associated with some of the most romantic legends of Indian art, particularly that of Sawant Singh and his beloved Bani Thani, reflecting the intertwining of romance, mythology, and bhakti. This school developed through the close interaction between Sawant Singh, the prince and lover; Nagari Das, the poet; and Nihal Chand, the painter, who together created some of the most iconic works of this tradition.

The figure of Bani Thani is often said to resemble Radha. She is depicted with a distinctive profile, large and lustrous eyes, thin lips, and a pointed chin. Her odhni or headgear defines her side profile. This stylised feminine form became the hallmark of the Kishangarh School. The artists also produced numerous paintings depicting the devotional and amorous relationship between Radha and Krishna.