Match List I with List II

Choose the correct answer from the options given below:

A-IV, B-III, C-II, D-I

The correct answer is Option 1- A-IV, B-III, C-II, D-I

Maru Ragini- Mewar

A particular set of Ragamala paintings from Mewar is, especially, important as one of its paintings bears crucial documentary evidence regarding its artist, patron, place and date of painting. Maru Ragini is from this set, which is in the collection of National Museum, New Delhi. The initial part of the inscription found on the painting, representing Maru Ragini, classifies Maru as the ragini of Raga Shri and describes her physical beauty and its effect on her beloved. It is the latter half that is engrossing as it reads, “… samvat 1685 varshe aso vad 9 Rana Shri Jagat Singh Rajen Udaipur madhe likhitam chitara Sahivdin bachan hara ne ram ram.” Samvat 1685 is 1628 CE and Sahibdin is referred to as chitara, meaning ‘someone who paints’, and the act of painting is termed as likhitam, translated as ‘written’ since the goal of the artist was to produce a painterly equivalent to the written verse inscribed on the painting.

Raja Aniruddha Singh Hara-Bundi

The Bundi school blossomed under the patronage of two rulers — Rao Chattar Sal (1631–1659), who was made the governor of Delhi by Shahjahan and played a conspicuous role in the subjugation of the Deccan; and his son Rao Bhao Singh (1659–1682), who was an enthusiastic, self-indulging patron as revealed from numerous portraits that he commissioned of himself and other dated works. Innovative developments have been observed under the reigns of his successors Aniruddha Singh (1682–1702) and Budh Singh, whose whiskered face is visible in many portraits.
Raja Aniruddha Singh (1682–1702) succeeded Bhao Singh. Few remarkable paintings with interesting documentary evidence have survived from his period. One of them being the much talked of equestrian portrait of Aniruddha Singh by artist Tulchi Ram painted in 1680. It epitomises an artist’s perception of speed and a horse in motion that he accomplished by completely negating the rendering of the foreground. The horse is seen galloping so high in the air that the ground is not visible. The value of such paintings is that they turn still portraits into narratives. Names of Tulchi Ram and prince (Kanwar) Aniruddha Singh are inscribed behind the painting.

Chaugan Players- Jodhpur

Chaugan Players: The painting, depicts a princess playing Polo (Chaugan) with companions, by artist Dana represents Jodhpur painting of Man Singh’s reign. It may or may not be from the main court as it betrays stylistic influence of many schools, such as Mughal in the way women are depicted, Deccani in the way horses are depicted, Bundi and Kishangarh in the depiction of facial features, and the flat green background is suggestive of the indigenous preference for flat surfaces. The painting is inscribed with a line on the upper portion that is translated as, “beautiful maidens on horsebacks, playing”. The painting was made in 1810 and is in the collection of National Museum, New Delhi.

Krishna on swing: Bikaner

Krishna on swing: This painting, illustrating Rasikapriya, is notable as it is inscribed with a date and name of the artist. Painted in 1683 by artist Nuruddin, who worked in the court of Bikaner from 1674 to 1698, it presents a stark and simple composition with minimal and suggestive representation of architecture and elements of landscape. Nuruddin has ingeniously employed the device of soft undulating mound in the centre to divide the painting into two sections. It operates as a pictorial prop that transforms an urban setting into a tree-laden countryside and vice versa. An architectural pavilion in the upper part of the painting pictorially qualifies that space as the ‘palatial interior’, while few trees on the green grassland suggest ‘outdoors and pastoral’ landscape. Hence, one understands the movement of the narrative from top to bottom as a progression of activities from indoors to outdoors. Appearing in the upper section of the painting, Krishna seated on a swing seems to be enjoying himself in the company of a Gopi at her dwelling. On learning about his rendezvous a jilted Radha, stricken with grief, disappears into the countryside and finds herself alone under a tree. Guilt-ridden Krishna, on learning of Radha’s sorrow, follows her but there is no truce happening. Meanwhile, Radha’s sakhi (friend) gets to know of the fall out and takes on the role of a messenger and pacifier. She comes to Krishna and tells him of the misery and plight of Radha, and implores him to appease her. This painting is in the collection of National Museum, New Delhi.