Indian painting

Tuti-Nama was an early Mughal work from the mid 16th Century, and the similarities particularly in the female figures to the indigenous western India school is clearly visible. While some consider this to be a transition phase where the stylistic features of indigenous & Persian schools combined, other considered this to be a work of artists who were trained in western India school and who worked in Akbar's atelier to produce art for the Mughal palette, maybe under supervision of Persian masters.

Another early production by that school of miniature painting was the Akbar Hamzanama manuscript, which according to the court historian Badayuni was started in 1567 and completed in 1582. The Hamzanama, an epic Persian account of Amir Hamza, an uncle of the Prophet, were illustrated by Mir Sayyid Ali. The paintings of the Akbar Hamzanama are of large size, 20 x 27", and were painted on cloth. They are in the Persian safavi style. Brilliant red, blue and green colours predominate; the pink, eroded rocks and the vegetation, planes and blossoming plum and peach trees are reminiscent of Persia. The Hamza Nama is very different in style to the Tuti Nama. This difference was either due to a different set of artists who were trained in the Persian style or due to a conscious change in style through experimentation, either ways, mughal painting quickly evolved into more fluid and naturalistic style different from the stiffness in figures seen in earlier paintings. Nevertheless, links to the western India schools were still there on close inspection, particularly in the representation of the female figure.

After him, Jahangir encouraged artists to paint portraits and durbar scenes.^[31][30] His most talented portrait painters were Ustad Mansur, Abul Hasan and Bishandas.

Shah Jahan (1627–1658) continued the patronage of painting.^[31] Some of the famous artists of the period were Mohammad Faqirullah Khan, Mir Hashim, Muhammad Nadir, Bichitr, Chitarman, Anupchhatar, Manohar and Honhar.^[32][30]

Aurangzeb had no taste for fine arts, probably due to his Islamic conservatism.^[31] Due to lack of patronage artists migrated to the Deccan and the Hindu courts of Rajputana, greatly influencing the styles in these centres.

Deccan painting

Deccan painting was produced in the

Compared to the early Mughal painting evolving at the same time to the north,[36] Deccan painting exceeds in "the brilliance of their colour, the sophistication and artistry of their composition, and a general air of decadent luxury".^[37] Other differences include painting faces, not very expertly modelled, in three-quarter view, rather than mostly in profile in the Mughal style, and "tall women with small heads" wearing saris. There are many royal portraits, although they lack the precise likenesses of their Mughal equivalents. Buildings are depicted as "totally flat screen-like panels".^[38]

Ragamala paintings, sets illustrating (by evoking their moods) the various raga musical forms, appear to have been an innovation of the Deccan. Beside the usual portraits and illustrations to literary works, there are sometimes illustrated chronicles, such as the Tuzuk-i-Asafiya. A Deccan speciality (also sometimes found in other media, such as ivory)^[39] is the "composite animal" a large animal made up of many smaller images of other animals.

Rajput painting

The early Mewar and Malwa schools, sometimes also collectively known as Western India school, developed around this period, and are stylistically similar and linked to the style of depiction in 14th–15th century texts from Gujarat. The similar large eyes, stiff figures, protruding hips and breasts are a linking feature. The Kulhadar group of paintings is considered one of the finest works executed belonging to the western India school. Executed in early 16th century, this group paintings were characterized by the men wearing a conical cap (Kulha) on which turbans were worn. The Kulhadar group of paintings consisted of Chaurapanchasika – "Fifty Verses of the Thief" by Bilhan, the Gita Govinda, the Bhagavata Purana and Ragamala.

Driven by the Islamic conquests, the mid-late 16th Century saw central Asian influence starting to creep into Indian artistic representation. The use of gold foil and ultramarine blue derived from imported lapiz lazuli were two such Persian influences which were adopted into Indian painting. Manuscripts of Laur Chanda at the National Museum are an example of such influence.

Several different styles of Rajput painting developed from the late 16th century onwards in the Hindu royal courts of Rajputana.^[40][41] Each Rajput kingdom evolved a distinct style, but with certain common features. Rajput paintings depict a number of themes, events of epics like the Ramayana and the Mahabharata, Krishna's life, beautiful landscapes, and humans. Many miniatures were individual album pieces, but there are also illustrated books, and there was at the same time some mural painting on the walls of palaces, forts, and havelis. This especially so in the Shekhawati region, where Marwari businessmen, mainly active in the large cities, competed to have brightly painted exteriors of the houses they maintained in their home region.

Rajput painting consists of four principal groupings:

1. The
   Sawar
   styles of painting
2. The Marwar school comprising the Kishangarh, Bikaner style of painting from Bikaner, Jodhpur, Nagaur, Pali and Ghanerao styles
3. The Hadoti school with the Kota, Bundi and Jhalawar styles and
4. The Dhundar school of Amber, Jaipur, Shekhawati painting and Uniara styles of painting.

Pahari painting is the northernmost extension of the Rajput style, but usually treated separately.

Pahari painting

The

A new trend in manuscript illustration was set by a manuscript of the Nimatnama painted at Mandu, during the reign of Nasir Shah (1500–1510). This represent a synthesis of the indigenous and the patronized Persian style, though it was the latter which dominated the Mandu manuscripts.^[citation needed] There was another style of painting known as Lodi Khuladar that flourished in the Sultanate's dominion of North India extending from Delhi to Jaunpur.^{[citation needed]}

Mysore painting

Mysore painting is an important form of classical

Pattachitra refers to the Classical painting of Odisha and West Bengal, in the eastern region of India.'Patta' in Sanskrit means 'Vastra' or 'clothing' and 'chitra' means paintings.

Patachitra of Naya village

Patachitra of Naya village

Goddess Durga and her family in Medinipur Patachitra

The Bengal Patachitra

The Bengal Patachitra refers to the painting of West Bengal. It is a traditional and mythological heritage of West Bengal. The Bengal Patachitra is divided into some different aspects like Durga Pat, Chalchitra, Tribal Patachitra, Medinipur Patachitra, Kalighat Patachitra etc.^[44] The subject matter of Bengal Patachitra is mostly mythological, religious stories, folk lore and social. The Kalighat Patachitra, the last tradition of Bengal Patachitra is developed by Jamini Roy. The artist of the Bengal Patachitra is called Patua.^[45]

The tradition of Orisha Pattachitra is closely linked with the worship of Lord

Assam Painting

Painting of Assam led to its growth in response to Neo-Vaisnavism movement starting in the 15th century and even received royal patronage under various erstwhile royal classes. Manuscript painting of Assam continued to flourish till the decay of the Ahom kingdom.

Other regional styles

Main article:

British East India Company or other foreign Companies in the 18th and 19th centuries.^[48][30] The style blended traditional elements from Rajput and Mughal painting

with a more Western treatment of perspective, volume and recession.

Early Modern Indian painting

At the start of the 18th century, oil and easel painting began in India, which saw many European artists, such as

Zoffany, Kettle, Hodges, Thomas and William Daniell, Joshua Reynolds, Emily Eden and George Chinnery coming out to India in search of fame and fortune. The courts of the princely states of India were an important draw for European artists due to their patronage of the visual and performing arts. For Indian artists, this Western influence, largely a result of colonialism, was viewed as "a means for self-improvement", and these Western academic artists who visited India provided the model.^[49] They did not, however, provide the training. According to R. Siva Kumar, "This task, which fell on the various art schools established in the 1850s, gave an institutional framework to the Westernization of Indian art".^[49]

The earliest formal art schools in India, namely the

Sir J. J. School of Art in Bombay (1857), were established.^[50]

A X Trindade (1870–1935),^[51] M F Pithawalla (1872–1937),^[52] Sawlaram Lakshman Haldankar (1882–1968) and Hemen Majumdar

(1894–1948).

In the 19th century, according to R. Siva Kumar, "selective Westernization for self-improvement gave way to a nationalist cultural counter-stance around the turn of the century – universally, the first step toward a political resistance toward colonial rule".^[53] In practice, this materialized as an assimilation of "diverse Asian elements", expanding tradition more than reviving it.^[53] Leading artist of the time, Abanindranath Tagore (1871–1951), utilized both the Western-influenced realism and Asian elements which brought him "close to early modernism".^[53]

A reaction to the Western influence led to a revival in historic and more nationalistic Indian art, called as the

Bengal school of art

, which drew from the rich cultural heritage of India.

Bengal school

Main article:

Bengal school of art

The Bengal School of Art was an influential style of art that flourished in India during the British Raj in the early 20th century. It was associated with Indian nationalism, but was also promoted and supported by many British arts administrators.

The Bengal school arose as an

Calcutta School of Art by encouraging students to imitate Mughal miniatures. This caused immense controversy, leading to a strike by students and complaints from the local press, including from nationalists who considered it to be a retrogressive move. Havel was supported by the artist Abanindranath Tagore, a nephew of the poet and artist Rabindranath Tagore.^[30][54]

Abanindranath painted a number of works influenced by Mughal art, a style that he and Havel believed to be expressive of India's distinct spiritual qualities, as opposed to the "materialism" of the West. His best-known painting, Bharat Mata (Mother India), depicted a young woman, portrayed with four arms in the manner of Hindu deities, holding objects symbolic of India's national aspirations.

Tagore later attempted to develop links with Far-Eastern artists as part of an aspiration to construct a

B.C. Sanyal, Beohar Rammanohar Sinha, and subsequently their students A. Ramachandran

, Tan Yuan Chameli, Ramananda Bandopadhyay and a few others.

The Bengal school's influence on Indian art scene gradually started alleviating with the spread of

modernist ideas post-independence.K. G. Subramanyan

's role in this movement is significant.

Contextual Modernism

Main article: Santiniketan: The Making of a Contextual Modernism

The term

postcolonial

critical tool in the understanding of the art the Santiniketan artists had practised.

Several terms including

Tani Barlow's Colonial modernity have been used to describe the kind of alternative modernity that emerged in non-European contexts. Professor Gall argues that 'Contextual Modernism' is a more suited term because "the colonial in colonial modernity does not accommodate the refusal of many in colonised situations to internalise inferiority. Santiniketan’s artist teachers' refusal of subordination incorporated a counter vision of modernity, which sought to correct the racial and cultural essentialism that drove and characterised imperial Western modernity and modernism. Those European modernities, projected through a triumphant British colonial power, provoked nationalist responses, equally problematic when they incorporated similar essentialisms".^[55]

According to

Ram Kinker Baij and Benode Behari Mukherjee under the Bengal School of Art was, according to Siva Kumar, misleading. This happened because early writers were guided by genealogies of apprenticeship rather than their styles, worldviews, and perspectives on art practice.^[56]

The literary critic

R Siva Kumar has called a "contextual modernism" developed in eastern India in the 1930s and '40s during the turbulent decades of the global Depression, the Gandhian liberation struggle, the Tagorean cultural renaissance and World War II."^[57]

Contextual Modernism in the recent past has found its usage in other related fields of studies, specially in Architecture.^[58]

Post Independence (1947― present)

Main article: Modern Indian painting

During the colonial era, Western influences started to make an impact on Indian art. Some artists developed a style that used Western ideas of composition, perspective and realism to illustrate Indian themes. Others, like Jamini Roy, consciously drew inspiration from folk art.^[59] Bharti Dayal has chosen to handle the traditional Mithila Painting in most contemporary way and uses both realism as well abstractionism in her work with a lot of fantasy mixed in to both .Her work has an impeccable sense of balance, harmony and grace.

By the time of Independence in 1947, several schools of art in India provided access to modern techniques and ideas. Galleries were established to showcase these artists. Modern Indian art typically shows the influence of Western styles, but is often inspired by Indian themes and images. Major artists are beginning to gain international recognition, initially among the Indian diaspora, but also among non-Indian audiences.

The

F. N. Souza, though the group was dissolved in 1956, it was profoundly influential in changing the idiom of Indian art.^[60] Almost all India's major artists in the 1950s were associated with the group. Some of those who are well-known today are Bal Chabda, Manishi Dey, V. S. Gaitonde, Krishen Khanna, Ram Kumar, Tyeb Mehta, Beohar Rammanohar Sinha and Akbar Padamsee. Other famous painters like Jahar Dasgupta, Prokash Karmakar, John Wilkins, and Bijon Choudhuri enriched the art culture of India. They have become the icon of modern Indian art. Art historians like Prof. Rai Anand Krishna

have also referred to those works of modern artistes that reflect Indian ethos.

Also, the increase in the discourse about Indian art, in English as well as vernacular Indian languages, appropriated the way art was perceived in the art schools. Critical approach became rigorous, critics like

R . Siva Kumar,^{[63][54][64][65]} contributed to re-thinking contemporary art practice in India.Their voices represented Indian art

not only in India but across the world. The critics also had an important role as curators of important exhibitions, re-defining modernism and Indian-art.

Indian Art got a boost with the economic liberalization of the country since the early 1990s. Artists from various fields now started bringing in varied styles of work. Post-liberalization Indian art thus works not only within the confines of academic traditions but also outside it. In this phase, artists have introduced even newer concepts which have hitherto not been seen in Indian art. Devajyoti Ray has introduced a new genre of art called Pseudorealism. Pseudorealist Art is an original art style that has been developed entirely on the Indian soil. Pseudorealism takes into account the Indian concept of abstraction and uses it to transform regular scenes of Indian life into a fantastic images.

Vernacular Indian Painting

Vernacular art is an art alive (contemporary art), based on the past (the myths, the traditions and the religion) and made by defined groups. Vernacular art is based on the collective memory of this group.

Examples of Vernacular Indian Painting:

Tribal Painting:

• Bhil painting
• Warli painting
• Gond painting
• Santhal
  painting
• Saora painting
• Kurumba painting

Rural Painting:

• Pattachitra painting
• Madhubani painting
• Bhojpuri Painting
• Manjusha Painting
• Kalamkari painting
• Kolam painting
• Kalam painting
• Mandana Paintings

Gallery

• 
• 
• 
• 
• 

Some notable Indian paintings

• Hemen Majumdar's "Lady with the Lamp"
• Sudip Roy's "Charulata Series"
• Rabindranath Tagore's "Self portrait"
• Abanindranath Tagore's Bharat Mata
• Aman Singh Gulati's "Almond Portraits Series"
• Shakuntala
• Ramkinkar Baij's "Jakkha 0 Jakkhi"
• Bikash Bhattacharjee's "Doll-series"
• Geeta Vadhera's Jogia "Dhoop series"
• Jahar Dasgupta's "Confrontation"
• MF Hussain
  's "Horses-series"
• Jamini Roy's "Jesus"
• John Wilkins's "Gossip",
• Rakesh Vijay "Persian and Mogul styles"
• Jainul Abedin
  's "Series on Bengal Famine"
• Sunil Das's "Bull Series"
• Devajyoti Ray's "In Despair"
• Tyeb Mehta's "Mahisasur"
• B. G. Sharma's Krishna miniatures
• ShakthiDass's
• Amrita-Sher-Gil
• M. Narayan's "Indian Ethnic" "Horses" Mother Teresa"

See also

• Warli Painting
• Painting
• History of painting
• Eastern art history
• Cave paintings in India
• The Last Harvest : Paintings of Rabindranath Tagore
• Rabindra Chitravali

Notes

1. ^ ^{a b c d} Blurton, 193
2. ^ Wall painting
3. ^ Harle, 355–361; Wall painting
4. ^ Blurton, 201–203, 209–210, 221–222
5. ^ Craven, 219; Harle, 361
6. ^ Miniature painting; Harle, 361–364
7. ^ Blurton, 200–201, 209–210
8. ^ Blurton, 193; Harle, 373
9. ^ Harle, 372–382
10. ISBN 978-93-87067-54-7
    .
11. OCLC 878101569
    . Retrieved 25 August 2019. Research since then has firmly established that many of these paintings belong to the Mesolithic age and may well be 10000 years old.
12. ^ C. Sivaramamurti 1996, pp. 5–9.
13. ^ ^{a b} Isabella Nardi 2007.
14. ^ ^{a b} C. Sivaramamurti 1978.
15. ^ Stella Kramrisch 1928.
16. ^ Parul Dave Mukherji 2001, pp. xxi–xliv.
17. ^ Isabella Nardi 2007, pp. 291–296.
18. ^ C. Sivaramamurti 1996, pp. 5–22.
19. ISBN 9780195644463
    .
20. ISBN 978-1-317-27886-3
    .
21. ISBN 0870998625, 9780870998621, google books (full view)
22. ISBN 81-215-0389-2
    p.68-70
23. ^ "The significance of North East India in the development of the sculpture of Bagan" (PDF). University of London. Archived from the original (PDF) on 12 August 2018. Retrieved 12 August 2018.
24. ISBN 9780870998621
    .
25. ^ Rowland, 341–343
26. ^ Rowland, 343
27. ISBN 978-0-7661-5801-6
    . Retrieved 11 December 2011.
28. ^ "Indian Miniature Paintings: The Mughal and Persian Schools – Google Arts & Culture". Google Cultural Institute. Retrieved 17 November 2018.
29. ^ "The Art of the Mughals before 1600". Metropolitan Museum of Art. Archived from the original on 3 February 2018. Retrieved 3 February 2019.
30. ^ ^{a b c d e} "South Asian arts – Visual arts of India and Sri Lanka (Ceylon)". Encyclopædia Britannica. Retrieved 4 February 2019.
31. ^ ^{a b c} Sardar, Marika. "The Art of the Mughals after 1600". Metropolitan Museum of Art. Archived from the original on 19 December 2017. Retrieved 3 February 2019.
32. ^ "Treasures of National Museum, India". Google Arts & Culture. Retrieved 3 February 2019.
33. ^ "Nauras: The Many Arts of the Deccan". Google Arts & Culture. Retrieved 4 February 2019.
34. ^ Harle, 400; Craven, 216–217; Sardar
35. ISBN 9780520048782
    .
36. ^ Craven, 216
37. ^ Harle, 400
38. ^ Harle, 400–403 (quoted); Craven 216–217
39. ^ Born, Wolfgang, "Ivory Powder Flasks from the Mughal Period", Ars Islamica, Vol. 9, (1942), pp. 93–111, Freer Gallery of Art, The Smithsonian Institution and Department of the History of Art, University of Michigan, JSTOR
40. ^ "Indian Miniature Paintings: The Rajasthan School". Google Arts & Culture. Retrieved 3 February 2019.
41. ^ ^{a b} Behrendt, Kurt. "Poetic Allusions in the Rajput and Pahari Painting of India". metmuseum.org. Retrieved 3 February 2019.
42. ^ ^{a b} "Indian Miniature Paintings: The Pahari School". Google Arts & Culture. Retrieved 3 February 2019.
43. ISBN 978-93-87067-54-7
    .
44. ^ বন্দ্যোপাধ্যায়, দেবাশিস. "পটচিত্রের চাহিদা বাড়ছে নবদ্বীপের রাসে". Anandabazar Patrika (in Bengali). Retrieved 11 May 2018.
45. ISBN 978-88-97683-39-1
46. ^ "Pattachitra.com".
47. ^ "Indian State Traditional Paintings – NID CEED Help". NID CEED Help. 13 August 2017. Retrieved 13 August 2017.
48. ^ "Company Painting in Nineteenth-Century India". Metropolitan Museum of Art. Archived from the original on 20 December 2017. Retrieved 3 February 2019.
49. ^ ^{a b} R. Siva Kumar (1999) Modern Indian Art: A Brief Overview, Art Journal, 58:3, 14
50. ^ Sardar, Marika. "Nineteenth-Century Court Arts in India". Metropolitan Museum of Art. Retrieved 3 February 2019.
51. ^ Dr. Nalini Bhagwat (16 March 1935). "Old Master A. X. Trindade – Article by Dr. Nalini Bhagwat, A Rembrandt of the east, painter, landscapes, Portrait, pastels and water colours painting, simple minded soul". Indiaart.com. Retrieved 13 December 2013.
52. ^ "Artist Gellary – M F PITHAWALA". Goaartgallery.com. 19 March 2007. Retrieved 13 December 2013.
53. ^ ^{a b c} R. Siva Kumar (1999) Modern Indian Art: A Brief Overview, Art Journal, 58:3, 15
54. ^ ^{a b} "Rabindranath Tagore: The Last Harvest". Asia Society. Archived from the original on 7 August 2018. Retrieved 3 February 2019.
55. ^ http://www.huichawaii.org/assets/gall,-david---overcoming-polarized-modernities.pdf ^{[bare URL PDF]}
56. ^ ^{a b} "humanities underground » All The Shared Experiences of the Lived World II".
57. ^ "Creator of a Floating World – Ranjit Hoskote – Tehelka – Investigations, Latest News, Politics, Analysis, Blogs, Culture, Photos, Videos, Podcasts". Archived from the original on 29 November 2014. Retrieved 5 May 2018.
58. ^ Alazar, Ejigu (1 January 2011). ""Contextual modernism" – is it possible? Steps to improved housing strategy". {{cite journal}}: Cite journal requires |journal= (help)
59. ^ Ali, Atteqa. "Early Modernists and Indian Traditions". Metropolitan Museum of Art. Retrieved 3 February 2019.
60. ^ Ali, Atteqa. "Modern Art in India". Metropolitan Museum of Art. Archived from the original on 25 June 2017. Retrieved 3 February 2019.
61. ^ "Geeta kapur | Khoj International Artists' Association". Archived from the original on 24 September 2013. Retrieved 13 December 2013.
62. ^ "Afterall • Online • Geeta Kapur: On the Curatorial in India (Part 1)".
63. ^ "National Gallery of Modern Art, New Delhi".
64. ^ "The Curatorship Programme ( 2010 -2013)". Archived from the original on 11 November 2010. Retrieved 18 December 2012.
65. ^ http://ngmaindia.gov.in/pdf/The-Last-Harvest-e-INVITE.pdf ^{[bare URL PDF]}

References

• Blurton, T. Richard, Hindu Art, 1994, British Museum Press,
  ISBN 0 7141 1442 1
• Chakraverty, Anjan, Indian Miniature Painting, 2005, Lustre Press,
  ISBN 8174363343
  , 9788174363343
• ISBN 0500201463
• Harle, J.C., The Art and Architecture of the Indian Subcontinent, 2nd edn. 1994, Yale University Press Pelican History of Art,
  ISBN 0300062176
• Sardar, Marika. "Islamic Art of the Deccan". Metropolitan Museum of Art. Retrieved 3 February 2019.
• "Miniature painting", Centre for Cultural Resources and Training, Indian Government
• "Modern Indian painting", Centre for Cultural Resources and Training, Indian Government
• "Wall paintings", Centre for Cultural Resources and Training, Indian Government

Further reading

• Havell, E. B. (1908). Indian sculpture and painting
  . John Murray, London.
• Coomaraswamy, Ananda K. (1914). Viśvakarmā; examples of Indian architecture, sculpture, painting, handicraft
  . London.
• Havell, E. B. (1920). A Handbook of Indian Art
  . John Murray, London.
• Indian Painting, by
  Percy Brown
  . Published by Y. M. C. A. publishing house, 1960.
• Indian Painting, by Philip S. Rawson. Published by P.Tisné, 1961.
• Indian Painting: The Scene, Themes, and Legends, by Mohindar Singh Randhawa, John Kenneth Galbraith. Published by Houghton Mifflin, 1968.
• Indian Painting, by Douglas E. Barrett,
  ISBN 0-8478-0160-8
  .
• Kossak, Steven. (1997). Indian court painting, 16th–19th century. Metropolitan Museum of Art.
  ISBN 0-87099-783-1
• Stella Kramrisch (1954). The Art of India: Traditions of Indian Sculpture, Painting, and Architecture. Phaidon Publishers.
  OCLC 16539346
  .
• Stella Kramrisch (1928). The Vishṇudharmottaram, part III. A treatise on Indian painting. Calcutta University Press.
  OCLC 504043783
  .
• Lerner, Martin (1984). The flame and the lotus: Indian and Southeast Asian art from the Kronos collections. New York: The Metropolitan Museum of Art.
  ISBN 0-87099-374-7
  .
• Parul Dave Mukherji (2001). विष्णुधर्मोत्तरपुराणीयं चित्रसूत्रम् (The Citrasutra of the Vishnudharmottara Purana). Motilal Banarsidass Publishers.
  ISBN 978-81-208-1805-7
  .
• Isabella Nardi (2007b). The Theory of Citrasutras in Indian Painting: A Critical Re-evaluation of their Uses and Interpretations. Routledge.
  ISBN 978-1-134-16523-0
  .
• Isabella Nardi (2007). "The concepts of Painting and the Figure of the Painter as Described in Selected Sanskrit Sources". Archiv Orientální. 75 (3).
• A History of Indian Painting: The Modern Period by Krishna Chaitanya. Published by Abhinav Publications, 1994.
  ISBN 81-7017-310-8
  .
• C. Sivaramamurti (1996). Indian Painting. India Book House.
  OCLC 977530313
  .
• C. Sivaramamurti (1978b). Chitrasutra of the Vishnudharmottara. Kanal Publications.
  OCLC 5856266
  .
• C. Sivaramamurti (1968). South Indian Paintings. National Museum.
  ISBN 978-81-230-0052-7
  .
• C. Sivaramamurti (1978). The painter in ancient India. National Museum.
  OCLC 963176976
  .
• Ramayana by Valmiki illustrated with Indian miniatures from the 16th to the 19th century, Diane de Selliers Publisher, 2011,
  ISBN 978-2-903656-76-8
• Welch, Stuart Cary (1985). India: art and culture, 1300–1900. New York: The Metropolitan Museum of Art.
  ISBN 978-0-944142-13-4
  .

External links

Wikimedia Commons has media related to Paintings from India.

• Archaeological Survey of India
• Refer Indian Art Forms
• Collection of Indian Miniature Paintings

Online exhibits

• Metmuseum.org