Kulhadar Miniature Painting

In the 16th Century A.D., the most refined form of miniature paintings originated, which gives a complete indigenous look and style. These types of paintings are called Kulhadar paintings, and they do not have the style of either Mughal or Persian. The Kulhadar paintings belong to a group of miniatures designated as the Kulhadar group. They include paintings with excellent contrasting colours, angular drawing, and vigorous transparent drapery that make the painting realistic. One of the finest and the earliest examples of Kulhadar miniature painting is the Pala school of miniature paintings, reflecting the naturalistic style in the stone and sculpture arts.

Kulhadar Paintings

During the 15th century emerged the Persian style of painting which influenced the Western-Indian style of paintings. The early Malwa and Mewar schools developed around this period and were linked to the Western-Indian style of paintings. These paintings resemble large eyes with protruding hips, breasts, and stiff figures as a linking feature. The Kulhadar paintings and Kulhadar group are considered one of the finest works executed belonging to the Western-Indian school. Later on, in the first of the 16th century, the most significant paintings were represented by miniatures known as the Kulhadar group. The paintings are called Kulhadar paintings.

Making of Kulhadar Paintings

The making of Kulhadar paintings (miniature) involves several steps. They are

• Sketching: Painted using inks
• Tracing: After sketching, the design will be traced on the canvas.
• Colouring: Next step is to colour and shade the outline of the design and are given a firmer tone to depict sound- the finished form.
• Stippling: It is the process of shading or softly stroking using fine brushes.

One of the finest paintings of the Kulhadar group includes the illustration of the ‘Chaurapanchasika’ – “Fifty Verses of the Thief by Bilhan, The Bhagavata Purana and Ragamala and The Gita Govinda.”

The Kulhadar group of paintings depicts the style by using brilliant contrasting colours, perfect angles, and the appearance of conical caps’ Kulha’ on which the male figures wear turbans. The Chaurapanchasika, Kulhadra painting depicts a Champavati standing near a Lotus pond, and this painting belongs to N.C. Mehta collection, Bombay. It was first executed in the first half of the 6th century and reflected Western-Indian art’s pure indigenous style and does not show any influence from either the Mughal or the Persian style of painting. The important manuscripts of the miniature painting are the Mahapurana, and the Mrigavati, which executed the relatable style of the Chaurapanchasika style.

Pala School of Miniature Painting

During the 11th century and the 12th century A.D, the earliest form of miniature paintings existed in India. These paintings depict the illustrations of the religious texts on Buddhism performed under the Pala school in the eastern parts of India and the Jian texts executed in the western parts of India. Colours were used in the form of artwork that had symbolic meanings.

Also, many manuscripts were inscribed on the palm leaf, which relates the Buddhist themes and illustrates the Buddhist deities’ images at Vikramshila, Nalanda, Odantapuri, and Somarupa. Pilgrims and students from all over South-East Asia gather in the Pala school of miniature painting for education and religious instruction. They carried the pala style of Buddhist arts to Tibet, Burma, Sri Lanka, and Nepal. Some of the surviving models of the Pala demonstrated manuscripts mainly belong to the Vajrayana school of Buddhism. Pala’s painting portrays a realistic style characterised by curved lines and quiet tones of colour. The finest example is the manuscript of the Astasahasrika Prajnaparamita, or the ideal of Wisdom, noted in eight thousand lines, boarded in Oxford, England. The Pala art reached an end after destroying the Buddhist monasteries at the indicators of Muslim invaders in the first half of the 13th century. Some monks and artists escaped to Nepal, which helped reinforce the existing art traditions there.

The maximum flowering of miniature painting began when India came into immediate contact with the civilization of Islam. With the Mughal Empire (1526-1757 AD), the studios were founded at the Imperial court, and Indian painting began a new phase in its evolution. Illustrated manuscripts, album miniatures, portraits, celebratory or genre scenes, and various other paintings made their way all over India. Indian miniature painting was subjected to a substantial initial Persian influence, but it was short-lived since the Indian artists soon retrieved their freedom and creativity.

Conclusion

Indian paintings always have a tradition and a strong history in Indian art. However, these paintings were disturbed by climatic and weather conditions, with very few surviving examples. Among them, the miniature painting plays a vital role in Indian history. These types of paintings are called Kulhadar paintings, and they do not have the style of either Mughal or Persian. The Kulhadar paintings belong to a group of miniatures designated as the Kulhadar group. The Kulhadar paintings and Kulhadar group are considered one of the finest works executed belonging to the Western-Indian school. The Kulhandar paintings always depict the rich culture of miniature paintings.