The style of miniature painting that developed mainly in Gujarat in western India in the 16th–19th century. It evolved from Western Indian manuscript illustrations, though Mughal influence became evident in the later years of its development.
Gujarat Minature painting differs from the Mughal painting of the imperial ateliers at Delhi and the provincial courts in its bolder use of colour, an abstract and conventionalized conception of the human figure, and an orinamental treatment of landscape
Miniature Painting
The Western Indian style of painting prevailed in the region comprising Gujarat, Rajasthan and Malwa. The motivating force for the artistic activity in Western India was Jainism just as it was Buddhism in case of the Ajanta and the Pala arts. Jainism was patronised by the Kings of the Chalukya Dynasty who ruled Gujarat and parts of Rajasthan and Malwa from 961 A.D. to the end of the 13th century. An enormous number of Jain religious manuscripts were commissioned from 12th to 16th centuries by the princes, their ministers and the rich Jain merchants for earning religious merit. Many such manuscripts are available in the Jain libraries (bhandaras) which are found at many places in Western India.
The illustrations on these manuscripts are in a style of vigorous distortion. One finds in this style an exaggeration of certain physical traits, eyes, breasts and hips are enlarged. Figures are flat with angularity of features and the further eye protruding into space. This is an art of primitive vitality vigorous line and forceful colours. From about 1100 to 1400 A.D., palm-leaf was used for the manuscripts and later on paper was introduced for the purpose. TheKalpasutra and the Kalakacharya-Katha, the two very popular Jain texts were repeatedly written and illustrated with paintings. Some notable examples are the manuscripts of the Kalpasutra in the Devasano pado Bhandar at Ahmedabad, the Kalpasutra and Kalakacharya-Katha of about 1400 A.D. in the Prince of Wales Museum. Bombay and the Kalpasutra dated 1439 A.D. executed in Mandu, now in the National Museum, New Delhi and the Kalpasutrawritten and painted in Jaunpur in 1465 A.D.
The tradition of miniature painting Gujarat came into existence in eastern India during 8th century, and became popular in the west and Gujarat, in the mid of 10th century. Painted onto palm leaves and tree bark, these examples originally had an ornamental purpose, but soon became visual complement to religious sacred writings. In the beginning, the Gujarat Art of manuscript example was limited to the representation of gods and goddesses. These were taken directly from stone carvings, with idols mostly drawn in three-quarter profile and gods in frontal position as seen in carvings at the Sun Temple in Modhera and Rani Vav in Patan. The faces of gods are characterized by a pointed nose and chin and the further eye protruding beyond the cheek line of the face in profile. The position of the eye is the main characteristic of Gujarat’s miniature paintings, which were also used to explain Shvetambar Jain and Vaishnav texts and manuscripts. The Lalbhai Dalpathbhai institute of Indology in Ahmedabad houses about 76,000 handwritten Jain manuscripts with 500 illustrated versions, miniature paintings, cloth paintings, painted scrolls and decorative art.
Oil Paintings – Oil paintings are created using pigments mixed with drying oil. Drying oil is a binding medium for the pigments. Different types of media are selected based on their drying time or appearance. Each drying oil confers different property to the pigment, such as more intense yellow tinge, or difference in the luminosity of the paint. An artist who uses oil paints may use two or more types of oil for the same painting, to give different lustre and texture effects to the painting. Popular oil bases include walnut oil, safflower oil, poppy seed oil, and linseed oil. To add more lustre to the paint, the oil is mixed with pine resin or frankincense and boiled. The resins are responsible for the gloss seen in many oil paintings.
Glass Painting – Glass painting is one of the older art forms of Gujarat. Glass paintings made their first appearance in Gujarat in the eighteenth century, presumably brought in by Chinese artists. The interesting fact is that a pattern is first etched on the reverse side of the glass surface to be displayed. After that, the colours are filled in on the reverse side. Today, glass paintings have diversified to allow different patterns, themes and colours. Glass paintings are notable for the vivid intensity of colours.
Kalamkari art form – The Kalamkari art found in Gujarat has religious underpinnings, and is called Mata ni Pachedi. The paintings are created on a cream coloured fabric base. The subjects of these paintings are usually religious, pertaining to gods and goddesses. The paintings form the backdrop of Goddess Durga statues in many temples. They are brought in by devotees as an offering to the Goddess if their wish is granted. During religious festivals, these paintings are much sought after in the rural and many urban areas of the state. Keeping pace with the changing times, the hand-painted textiles have given way to partially block-printed fabric, where the borders are created with printing blocks and the rest of the painting is made by hand.
Pethora – Guided by rituals conducted by the Badvo officiating as the head priest for the associated rituals, the pithora or pithoro painting is executed by the Lakahara group. This is a form of painting done either to celebrate an auspicious occasion or call upon Pithora Baba to solve problems like disease or drought. The legends and events related to this revered tribal lord dominate the pithoro and the ceremonies that are an integral part of the art form involve song, dance, drinking, and feasting. The process begins with treating the walls with cow dung and white chalk powder, usually brought by unmarried girls. Powders, earth, and vegetable colours are mixed with milk and mahuda flower liquor to prepare the dye for the pithoro in colours like yellow, indigo, orange, green, vermillion, red and silver. The brushes are made from bamboo, neem, and other twigs that are frayed by chewing, beating, and other methods. The painting begins after the offerings are made to the lord.
The Badvo chanting the prayers and tales go into a trance while the pithoro is being painted. The marriage of Pithora Baba and Pithori with processions of vibrant dancing people and animals dominate most pithoros. They also depict the elements of life among the Rathwas—like musicians, dancers, protecting, feasting, men climbing palm trees, milking of cows, livestock at pasture, women churning butter, and bullock carts ploughing a field. Raja Bhoj with an elephant procession is another distinctive feature of many pithoros. Animistic figures of bulls, horses, birds, and tigers are part of each pithoro. Live sacrifices are offered near the tiger pictures.
Warli painting:- is a form of painting done by artisans at the border of Gujarat. Warli painting is the craft of tribal people. It is popular across India. The philosophy of a way of life, especially those of tribal societies, is best depicted through colorful images. Folk imagination, beliefs and customs are spontaneously expressed in these monochromatic tribal paintings. The whims and moods of tribal life make for interesting themes, which is why Warli Paintings are much more than designs on walls they are authentic depictions of a way of life. From the cracked and unknown walls of the village of Warli, Warli, an Indian folk art painting has travelled across borders and are now cherished possessions of many a collector and art lovers.
Rogan painting :- is a unique craft and practiced by very few families. Rogan painting involves the use of a thick paste which is prepared by boiling the oil of safflower, caster or linseed and pouring it into water. This paste is mixed with chalk colour pigment and a binding agent to form a thick die. The painting on the cloth is done using a stick rod or a metal block. Geometric and floral designs are the norm. Red, blue and yellow are the usual colours that are employed. Rogan painting is used for decorating wall hangings, table-cloth, curtains, sarees and skirt borders.
Handicrafts
The style of miniature painting that developed mainly in Gujarat in western India in the 16th–19th century. It evolved from Western Indian manuscript illustrations, though Mughal influence became evident in the later years of its development.
Gujarat Minature painting differs from the Mughal painting of the imperial ateliers at Delhi and the provincial courts in its bolder use of colour, an abstract and conventionalized conception of the human figure, and an orinamental treatment of landscape
Miniature Painting
The Western Indian style of painting prevailed in the region comprising Gujarat, Rajasthan and Malwa. The motivating force for the artistic activity in Western India was Jainism just as it was Buddhism in case of the Ajanta and the Pala arts. Jainism was patronised by the Kings of the Chalukya Dynasty who ruled Gujarat and parts of Rajasthan and Malwa from 961 A.D. to the end of the 13th century. An enormous number of Jain religious manuscripts were commissioned from 12th to 16th centuries by the princes, their ministers and the rich Jain merchants for earning religious merit. Many such manuscripts are available in the Jain libraries (bhandaras) which are found at many places in Western India.
The illustrations on these manuscripts are in a style of vigorous distortion. One finds in this style an exaggeration of certain physical traits, eyes, breasts and hips are enlarged. Figures are flat with angularity of features and the further eye protruding into space. This is an art of primitive vitality vigorous line and forceful colours. From about 1100 to 1400 A.D., palm-leaf was used for the manuscripts and later on paper was introduced for the purpose. TheKalpasutra and the Kalakacharya-Katha, the two very popular Jain texts were repeatedly written and illustrated with paintings. Some notable examples are the manuscripts of the Kalpasutra in the Devasano pado Bhandar at Ahmedabad, the Kalpasutra and Kalakacharya-Katha of about 1400 A.D. in the Prince of Wales Museum. Bombay and the Kalpasutra dated 1439 A.D. executed in Mandu, now in the National Museum, New Delhi and the Kalpasutrawritten and painted in Jaunpur in 1465 A.D.
The tradition of miniature painting Gujarat came into existence in eastern India during 8th century, and became popular in the west and Gujarat, in the mid of 10th century. Painted onto palm leaves and tree bark, these examples originally had an ornamental purpose, but soon became visual complement to religious sacred writings. In the beginning, the Gujarat Art of manuscript example was limited to the representation of gods and goddesses. These were taken directly from stone carvings, with idols mostly drawn in three-quarter profile and gods in frontal position as seen in carvings at the Sun Temple in Modhera and Rani Vav in Patan. The faces of gods are characterized by a pointed nose and chin and the further eye protruding beyond the cheek line of the face in profile. The position of the eye is the main characteristic of Gujarat’s miniature paintings, which were also used to explain Shvetambar Jain and Vaishnav texts and manuscripts. The Lalbhai Dalpathbhai institute of Indology in Ahmedabad houses about 76,000 handwritten Jain manuscripts with 500 illustrated versions, miniature paintings, cloth paintings, painted scrolls and decorative art.
Oil Paintings – Oil paintings are created using pigments mixed with drying oil. Drying oil is a binding medium for the pigments. Different types of media are selected based on their drying time or appearance. Each drying oil confers different property to the pigment, such as more intense yellow tinge, or difference in the luminosity of the paint. An artist who uses oil paints may use two or more types of oil for the same painting, to give different lustre and texture effects to the painting. Popular oil bases include walnut oil, safflower oil, poppy seed oil, and linseed oil. To add more lustre to the paint, the oil is mixed with pine resin or frankincense and boiled. The resins are responsible for the gloss seen in many oil paintings.
Glass Painting – Glass painting is one of the older art forms of Gujarat. Glass paintings made their first appearance in Gujarat in the eighteenth century, presumably brought in by Chinese artists. The interesting fact is that a pattern is first etched on the reverse side of the glass surface to be displayed. After that, the colours are filled in on the reverse side. Today, glass paintings have diversified to allow different patterns, themes and colours. Glass paintings are notable for the vivid intensity of colours.
Kalamkari art form – The Kalamkari art found in Gujarat has religious underpinnings, and is called Mata ni Pachedi. The paintings are created on a cream coloured fabric base. The subjects of these paintings are usually religious, pertaining to gods and goddesses. The paintings form the backdrop of Goddess Durga statues in many temples. They are brought in by devotees as an offering to the Goddess if their wish is granted. During religious festivals, these paintings are much sought after in the rural and many urban areas of the state. Keeping pace with the changing times, the hand-painted textiles have given way to partially block-printed fabric, where the borders are created with printing blocks and the rest of the painting is made by hand.
Pethora – Guided by rituals conducted by the Badvo officiating as the head priest for the associated rituals, the pithora or pithoro painting is executed by the Lakahara group. This is a form of painting done either to celebrate an auspicious occasion or call upon Pithora Baba to solve problems like disease or drought. The legends and events related to this revered tribal lord dominate the pithoro and the ceremonies that are an integral part of the art form involve song, dance, drinking, and feasting. The process begins with treating the walls with cow dung and white chalk powder, usually brought by unmarried girls. Powders, earth, and vegetable colours are mixed with milk and mahuda flower liquor to prepare the dye for the pithoro in colours like yellow, indigo, orange, green, vermillion, red and silver. The brushes are made from bamboo, neem, and other twigs that are frayed by chewing, beating, and other methods. The painting begins after the offerings are made to the lord.
The Badvo chanting the prayers and tales go into a trance while the pithoro is being painted. The marriage of Pithora Baba and Pithori with processions of vibrant dancing people and animals dominate most pithoros. They also depict the elements of life among the Rathwas—like musicians, dancers, protecting, feasting, men climbing palm trees, milking of cows, livestock at pasture, women churning butter, and bullock carts ploughing a field. Raja Bhoj with an elephant procession is another distinctive feature of many pithoros. Animistic figures of bulls, horses, birds, and tigers are part of each pithoro. Live sacrifices are offered near the tiger pictures.
Warli painting:- is a form of painting done by artisans at the border of Gujarat. Warli painting is the craft of tribal people. It is popular across India. The philosophy of a way of life, especially those of tribal societies, is best depicted through colorful images. Folk imagination, beliefs and customs are spontaneously expressed in these monochromatic tribal paintings. The whims and moods of tribal life make for interesting themes, which is why Warli Paintings are much more than designs on walls they are authentic depictions of a way of life. From the cracked and unknown walls of the village of Warli, Warli, an Indian folk art painting has travelled across borders and are now cherished possessions of many a collector and art lovers.
Rogan painting :- is a unique craft and practiced by very few families. Rogan painting involves the use of a thick paste which is prepared by boiling the oil of safflower, caster or linseed and pouring it into water. This paste is mixed with chalk colour pigment and a binding agent to form a thick die. The painting on the cloth is done using a stick rod or a metal block. Geometric and floral designs are the norm. Red, blue and yellow are the usual colours that are employed. Rogan painting is used for decorating wall hangings, table-cloth, curtains, sarees and skirt borders.
Dances
Folk dances of Gujarat include famousdance forms like Garba, Dandiya, Bhavai,Tippani, Hudo, among others. These danceforms are very energetic, colourful andsoulful and truly reflect the essence ofvibrant Gujarat.
Palli Jag Garbo:-
Maniaro Raas:-Maniaro is one of them mainly performed by “Mer” community of Sorath. “Mer” being Warrior community, their Ras depicts the movements of swards in the battlefield and is full of gusto. Even the Tal is also very different and of five and half matras known as Maniaro.
Kanabi Raas:-Kanbi in Gujarati (local language) means “Farmer”. This particular form belongs to the farmers of Jamnagar district (Halar). Ras is another extremely popular dance form of Gujarat. This Ras, the dance of hard working, toiling farmers has the imprint of their work, their day-to-day life. Men and women dance together with their dandiyas (wooden stick) in their hands. The swift sitting movements “Besni” and circular movement “Chakkars” are the specialty of their dance. Of course the colour of the costumes are eye-catching.
Hudo:-Hudo is the folk dance form of Bharwad, Gujarat’s shepherd community.
In the Matki dance, the women of the tribes carry the matkis balanced on their heads.
Vinchhudo:-This theme dance is the story of simple Indian folk. It depicts their plain hearts and strong belief in superstition. In the age of advance computers, the story presented in this dance, is a true story of each and every village of India.
Tippani:-Sorath, a prominent one among the five regions of Saurastra of Gujarat has long coastline. Kharvas and Kolis are the habitats of this coastal region. Koli men are sailors and are usually at sea. Their women folk are engaged in the laborious task of making the floor and ceiling of houses. Stamping the surface with the tool called Tippani does this. To reduce the monotony of this hard work, women sing and dance with their Tippani with the rhythm of the work process of stamping. This has resulted in to a dance “Tippani”.
Graba:-Garbā is customarily performed by women; the dance involves circular patterns of movement and rhythmic clapping. It popularly performed during navarātri. The word comes from ‘garbhādīpa’ which is translated as either light in the inner sanctum of the temple or lamp inside a perforated earthen pot which is often used in the dance.
Bhavai:-Bhavai is one folk theatre form of Gujarat meant for worshipping. The Nayak community is known to perform the ancient Bhavai form, the most widely used form for mass communication travelling from village to village.
Dangi Nritya (Kahalya):-The popular Dangi Nritya a popular tribal of Dang in Sothern Gujarat. The dance is usually performed by kokans, warlis and bhil tribe in order to mark celebration for auspicious occasions like Diwali, Holi or a wedding ceremony. Here the men and women hold their hand forming a chain, which is the main style of Dangi Nritya. As the leader Kahalya (sharnai) changes their tune, so does the dance movement (chala) changes along with it.
Dandiya Nritya :-Dāndiyā is an energetic, vibrant folk dance originating in the state of Gujarat. The dancers use polished sticks. It represents a mock fight between the goddess Durgā and the mighty demon-king Mahiśāsura.
Gop Ras:-Ras is popularly known as Dandiya Ras. “Harivansh Puran” (epic) has noted this dance as “Hallisak”, in which Gopis (women) in pair, perform with great grace and later Krishna and other Yadavas join them. Ras is perform by a group of dancers who move in a circle to measured steps, marking time by striking wooden stick know as Dandiya. There were 36 types of Ras in Gujarat. Some are performed only by men while in other men and women dance in unison. Circular movements with speed and grace are the salient features of Ras. The roar of the Dhol, the colorful costumes together with speed, vigor and gusto leaves viewers spellbound. The songs are usually related to lord Krishna or have social themes.
Mer Ras:-Mer is a Community from the Saurashtra region of Gujarat state in India. They are also called Maher or Mehr.Mer is a Community from the Saurashtra region of Gujarat state in India. They are also called Maher or Mehr.
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