i. darbar and hunting scenes and portraits of

i. 1625-1650 CE (flourishing period)

ii. It is the earliest known Rajasthani group. Besides the darbar and hunting scenes and portraits of rulers and princes, the Vaishnavite themes (Krishna’s legend) and Ragmala were especially common.

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2. Bundi School of Painting:

A regional variant of the Rajasthani Style shows the Mughal influence in subject matter (court scenes, harems) and technical details while retaining its originality and excellence in expression of feminine grace.

3. Kota Paintings:

School of Rajasthan plains, it excelled in portrayal of hunting scenes & elephant fights. Scenes of worship and darbar and processional scenes also formed the subject matter of this style. It is said to anticipate the primitive vision and virility of European fauvism.

4. odhpur (Seat of Mewar School) Painting:

It portrays genuine Rajput element with the help of Mughal techniques. Equestrian portraits (of royal house and the nobility), boldness in expression with broad, fish eyes in human faces and highly styled true types form the important features.

5. Kishangarh Paintings:

An offshoot of Jodhpur school (2nd half of the 18th century), it is known for its ‘mannerist’ style (Nihalchand, court painter of Raja Samant Singh) with sadder curves and almond adding lyrical value to the figures. It managed the poetry of the Radha-Krishna story in painting perfectly.

6. Jaipur Painting:

A sub style of Rajasthan School, it bore a new outlook in response to the changed socio-political milieu giving rise to new approach to religion for easing of the conscience.

While retaining the conventional expression, the paintings became extravagantly decorative and Krishna’s Raslila became an earthly erotic amusement.