Arts & Crafts

Rajasthan is a land of colour, and its arts and crafts revolve around swirling hues. The bustling bylanes of Udaipur have artisans practicing their traditional crafts handed down to them by their elders. Khari printers do decorative floral patterns in gold and silver on plain or printed fabric. Block printers print various designs and patterns in different colours with the help of wooden blocks. You’ll also find artisans carving furniture, making puppets and traditional wooden toys. Alongwith engraving and embossing on brass, silver, jewellery, copper and even pottery, Meenakari is a speciality of this region.

Udaipur is well known for its lahariya bandhani, a tie and dye method with diagonal patterns in waves of colour. Nathdwara, 48km north east of Udaipur is major centre for pichhwai paintings (paintings on cloth, traditionally hung behind images of Lord Krishna). This form now finds itself on saris, towels, tablecloths and quilts. Udaipur also specializes in stone carving, especially in marble and sandstone, with artisans working hard at chiseling their finest filigree work. Colour as usual plays an important role in the life of Udaipur as in Rajasthan. It is wonderfully evident in ghagharas (long flowing skirts), cholis (blouses), and odhnis (long scarves) of the women as well as the turbans of the men. Music and dance are intermingled in the lives of the Mewaris who perform in various areas as wandering minstrels, bands of musicians and dancers or as dance drama troupes. They recite religious messages, local legends, and tales of romance or social stories.

Ivory carving and ivory turning is done in most parts of Rajasthan and articles mainly produced are boxes, bangles, combs, animal figures, dagger hilts and what not. Doors veneered with ivory can be seen in the Badi Mahal (Amar Vilas).

Mewar Miniatures

The Jain miniatures of manuscripts from the 13^th to 15^th centuries led the way towards the development of Mewar Miniatures. The ones mostly illustrated were from the Jain texts of Kalpasutra and Kalakacharya katha. They followed a linear style with sharp and angular contours with faces in profiles but showing both eyes. Very few colours were used, mostly black, blue, green, yellow and a little bit of red. Even before this period, the style used in the manuscript illustrations was more decorative as perfected in the Chaurapanchasika (50 Songs & A Thief) series. The Mewar school was however, related to this style in many features.

Mewar paintings were defined by the use of simple yet bright colours that had a rich effect on the human, animal, vegetative and floral forms depicted in minute details. The landscape was so painted that the figures blended in with their colours. Lacquer red was frequently used as the background colour. Themes of the miniatures were taken either from Sanskrit texts or poetries like Ragamala (Garden of Melodies), Nayika bhada (the traditional classification of lovers), Jayadeva’s 12^th century Gita Govinda and Krishna lila (Krishna stories). Illustrations from the Ramayana and the Mahabharata also served their purpose as the main subject of these paintings. At the end of the 13^th century these miniature artists were invited to Delhi by the early sultans. This endeavour brought about a blend in the Indian and Persian resulting in the Mughal miniature school of painting. For a long time the Mewar School had remained distanced from the Persian influence. It was only after the treaty between Mewar and Delhi that the paintings showed a synthesis of the two style – Rajput kalam giving way to the soothing colours of the Mughal miniatures.

The end of the 16^th century saw the Mewar School entering a new phase. Jagat Singh I’s rule (1628-52) for a new era for Mewar painting. The Rana’s principal artist Sahibdin combined the tradition of religious manuscript painting of the Rajputs with the Mughal style. Karan Singh I (1620-28) further encouraged it by building the Choti Chitrashali and covered it with religious portraits and figures – Hindu in character with Mughal influences. During the reigns of Amar Singh II and Sangram Singh II the Mewar school reached its zenith and painting became a thriving art. It depicted the life and customs of the rulers as well as the subjects of Mewar. A more intricate style was adopted using the finest brushes made from the throat hair of squirrels and often only one hair thick. The Udaipur palaces and other architectural wonders of the city provided a backdrop for the lavishly dressed maharanas and his vassals. Landscapes were given a natural touch rather than stylizing the trees, rocks and the hills.

Village Toys

Udaipur is famous for its folk toys that play an important role in the lives of the local people. The girl who is skilled in the workings of the lathe is a much sought after bride. These toys are made of brightly painted wood and are generally miniature figures or toys, household objects like utensils, children’s cradles or anything that deals with the normal functioning of a family.