Bundi Paintings from an Artist’s Perspective

Between 16^th and 19^th centuries AD, the Rajput courts in Rajasthan and Central India had patronized miniature paintings and wall murals of mythological and court themes in an epic scale. Though many of them have faded with the ravage of time, yet whatever are left constitute an integral aspect of South Asia’s visual history and heritage. Each of the Rajput courts had evolved with a distinctive style of murals done on the walls of palaces, inner chamber of the forts and havelis.

Most of these styles however had emerged combining indigenous as well as foreign influences (Persian, Mughal, Chinese, European and also from Gujarat, Deccan and Eastern India). In Rajasthan, the Hadoti region with its capital at Bundi was among the four principal schools that had evolved within the state.

The Bundi School had evolved at the Hadoti Court in the early 17^th century in the time of Rao Bhoj Singh, while him overseeing Chunnar near Varanasi as the governor of the province. During his governorship, he came in direct contact with Persian artists (these artists had been brought by Humayun) and commissioned them to illustrate a Ragmala series. The style with strong Mughal influence was first experimented at Badal Mahal in Bundi. In richness and brilliance, the Badal Mahal paintings have affinity also with paintings of Deccan, a region with which the rulers of Bundi were often in contact.

The style emphasized on hunting, court scene, processions, life of nobles, lovers, animals, birds and scenes from Krishna’s life.

The Chitrasala or the Ummaid Bhavan built in the 18^th century by Rao Ummaid Singh shows the climax of Bundi paintings, a style characterized by a fondness of lush vegetation, dramatic night skies, a distinctive way of depicting water by light swirls against a dark background, and vivid movement. The walls and ceilings of this palace are completely covered with paintings of the Bundi School and can be compared with among the best of pre-modern paintings anywhere in the world.

Two remarkable themes of these paintings is the Ragamala and Baramasa series depicting moods and sentiments of men and women, seasons and 36 ragas and raginis linked to the seasons, times of the day and the mood of the moment. Under Rao Bishen Singh (1771-1821 AD), hunting and wild animals became favorite subjects.

Bundi School of painting today has survived among a handful of artists, who still paint themes depicted in the Chitrasala. A few have also made some fresh innovations in filling the negative spaces and in colour schemes. Yug Pratap, a young Bundi artist shares his idea on Bundi paintings and his experience as an artist. Yug runs a small studio ‘Yug Art’ near Surang Gate in Bundi.

More on the video.

Bundi Fort – A Confluence of Ideas

In Southeastern Rajasthan, on the lap of Aravali lies Bundi, a picturesque Rajput fortified town. The territory was settled in the 13^th and 14^th centuries AD by Hada Rajputs, a sub-group of Chauhan Dynasty that migrated from Nadol in Pali District following its defeat by Qutb-ud-Din Aibak in 1197 AD.

Till 16^th Century, there was not much happening in Bundi, but its fortune changed with the arrival of Emperor Akbar. Rao Surjan of Bundi broke his relationship with the rulers of Mewar and established friendship tie with Akbar. It was a turning point in Bundi’s history. Then on, Bundi as a result of this alliance became a major centre of cultural creativity. Surjan was immediately awarded prestigious governorship that took him to Chunnar near Varanasi on Ganges.

This was the time of extra ordinary artistic and intellectual creativity being witnessed in North India. Interactions between different communities, religions and cultures were leading often to innovative and exciting results.

Chunnar was a major centre of paintings on Hindu themes in Persian style. Ragamalas that would become the most popular themes at Bundi were first experimented at Chunnar with extraordinary sophistication. An inscription says: ‘the pupils of Mir Sayyid Ali and Khwaja Abd al Samad’, two great artists employed by Emperor Akabar. They had been brought from Iran by Humayun, Akbar’s father to introduce Persian style in India.

Rao Bhoj Singh of Bundi (son of Surjan) when started overseeing Chunnar as the governor of the province came in direct contact with these artists and commissioned them to paint Ragamala series. A new idea was born which later influenced the world famous Bundi style, first executed on walls and ceilings of Badal Mahal, a Rao Bhoj creation.

As parts of imperial campaigns Rao Bhoj also visited Kabul, Gujarat, Odisha and Deccan and was influenced by painting and architectural styles of these regions. In Bundi, one of the major traits drawn from the Mughal/Persian miniatures is evoking a moody night sky.

Rao Bhoj’s successors Rao Raja Ratan Singh and Rao Raja Chhatrasal both continued the trend and added features to their palace and in Bundi. Chitrasala became the iconic painting gallery in the whole of India and famed Bundi worldwide. Creation of several lakes, such as Nawal Sagar, Jait Sagar and baoris like Raniji ki bowri established Bundi as a prominent centre of water architecture.

Come, let’s discover the world renowned artistic heritage of Bundi and appreciate the confluence of ideas that were seen at Bundi in 16^th-18^th centuries AD.