The correct answer is Option 2- (A)-(III), (B)-(I), (C)-(IV), (D)-(II)
Among the many popular traditions of painting, Mithila or Madhubani painting of Bihar, Warli painting of Maharashtra, Pithoro Painting of North Gujarat and western Madhya Pradesh, Pabuji ki Phad from Rajasthan, Pichhwai of Nathdwara in Rajasthan, Gond and Sawara Paintings of Madhya Pradesh, Pata Chitra of Odisha and Bengal, etc., are few examples.
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. Despite numerous political disputes and having lost his kingdom four times, he is known to have encouraged the
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.
The reign of Jagat Singh I (1628–1652) is recognised as the period when pictorial aesthetics got reformulated under virtuoso artists Sahibdin and Manohar, who added new vitality to the style and vocabulary of Mewar paintings. Attributed to ingenious artist Sahibdin, Yuddha Kanda, the Book of Battles, is a chapter in the Ramayana set of paintings, popularly referred to as the Jagat Singh Ramayana. Dated 1652, Sahibdin, herein, has crafted a novel pictorial device that of oblique aerial perspective to impart credibility to the ambitious scale that war pictures encompass. Deploying various narrative techniques, he either layers several episodes into a single painting as this one, or spreads a single episode over more than one folio. The painting portrays Indrajit’s devious tactics and use of magic weapons in war.
In the N. C. Mehta Collection in Ahmedabad, Gujarat, India, there is an artwork titled "Krishna Embracing Gopis" from the Guler region, dating back to the period of 1760–1765 and inspired by the Gita Govinda. |
