Art of Marathas was commonly known for its paintings, especially for its wall paintings. The emergence of cultural intellectuality was seen in the Maratha period from the mid-eighteenth century and it lasted till the end of the nineteenth century. The basic form of art of Marathas was started in the period of Chhatrapati Shivaji and the heritage culture of that period was seen in their art form. In every section of the culture, art culture flourished a lot and it even attracted foreign pilgrims who came to the British India Region for study and other purposes. Art of Marathas and its features 

• The art form of Rajputana as well as various European forms of art immensely influenced the different forms of art of Marathas. Shaniwar Wada was considered the father of the art of Marathas and was a great painter of that period
• During the period of Madhav Rao II, the form of the art of Marathas was immensely improved and it reflects the regional social features of that period that were moved by the lifestyle of the common people rather than the royal people
• The Preaching of the former Bhakti Reformer activities was also reflected in the art of Marathas which was mostly influenced by the native language as well as the regional literature form
• The artist of the Maratha period was experienced and trained by a close observance of the Rajput and European artists
• Apart from the native social culture, the art of Maratha the political situation of the Deccan region of the British India Region was also an important factor in the art of Marathas                          

Architecture of Marathas

The Architecture of Marathas was commonly seen in temple structures of the mid-seventeenth as well as the initial nineteenth centuries in the Bombay presidency. The different form of architecture of the Maratha culture was greatly influenced by the Hindu preceding traditions and the form of architecture of the Deccan Sultanates as well as Mughals architectures. Lal Mahal was one of the best architectures of the Marathas period that was built by Shivaji in Pune during the era of the confederacy. The caves and rock-cut architecture were one of the most common features of Maratha architecture that were mainly seen in the cave paintings of Ajanta and Ellora. Wadas was considered the most conservational form of the Architecture of Marathas that evolved under the Peshwa reign. This particular style of Maratha architecture had an amalgamation feature that was derived from the Mughal art form as well as the Rajputana art form in Rajasthan.    The combination of the Mughal art form, as well as the Rajputana art form, was seen in the Architecture of Marathas.             

Literature during Marathas

Maratha literature was considered the oldest form of literature in context to Indo-Aryan form pieces of literature. The Maratha literature was mainly written during 1000 BC and during the mid-thirteenth century with the emergence of Brahmanical sects. Mahanubhava was the oldest literary form of Maratha literature that was mainly shaped by the Indo-Aryan form pieces of literature. Dnyaneshwar was the pioneer of Maratha literature and he was considered the father of Maratha literature for his contribution that has a propaganda readership along with his profound influence on different literary forms of former Indian culture. Amrutanubhav and Bhavarth Deepika were his principal works that were considered the main literary form of that period. Another important work of    Dnyaneshwar was seen in Bhagavad Gita.             

Conclusion 

The wall paintings and book illustrations were the principal showcases of different forms of art of Marathas. The battle of Chhatrapati Shivaji and the social status of the rulers with the royal gestures were truly reflected in the form of art of Marathas. Apart from wall paintings and book illustrations, the art form of Maratha was also seen in the form of murals, miniatures as well as glass paintings. The different forms of art of Marathas can be seen even in the present day in old Wadas, temples, architectures, as well as ceilings of the royal court.