Infulance of Vaishnavism on Marwar Painting
Infulance of Nath Sect on Marwar Painting
Maharaja Man Singh due to his unconscious faith in the Nath cult, accorded to the Kanphata Yogies a partial treatment. Painting of Jhalandar Nath is clear proof of it. Mansingh founded "Pustak Prakash" - the library and commissioned many sets of paintings. Many of his portraits show him worshipping Guru Nathji— or in the company of Guru Ayas Nath. Ramayana, Durgapatha, Shiva Purana, Suraj Prakash, Bhagwata, Panchtantra and Dhola Maru are some important works of his time.
Wall Paintings in shreenath Ji Temple in Mehrangarh
From a comparative glimpse of these compositions, the subject matter and colours seem to have been derived from the miniature paintings, though the miniature paintings have richer palette and varied themes. The themes of these paintings have got a wide spectrum, with depiction on ceiling varying from those on the walls and pillars. Vishnu in various incarnations and episodes dominate the themes. Other subject matter includes Gods, Goddesses, local deities, king's court life, scenes from Indian mythology & epics, various historic episodes that have affected the state and the valorous deeds of the Rajput icons and kings.
in ears and such. As far as the costumes are concerned, there are striped non-transparent garments painted over the figures in Shreenath ji temple room. And they also go in hand with the apparel treatment of figures from the miniature painting of early 17 to later 18th century. Then there are influences from the Mughal painting also. This amalgamation of Persian-Mughal impact is quoted at many places as Irani Kalam also. Frequent use of Mughal turbans and use of the typical floral depiction brought in by them exemplifies the above point.
Through a technical survey and study of these paintings it come in view that the walls and ceilings are having a traditional lime based plaster, commonly called Kaudi plaster. The same plaster is applied on ceilings too. Paintings were made over this very smooth and shiny plaster without preparation of any ground. The technique of painting could be tempera. But since the paintings have lost their pigment due to losing ground adhesion, so the technique could be more of tempera than any other.
The paint layers are carried out directly on the kaudi plaster. The paint generally consists of pigments and binding material that occurs in water soluble as well as water resistant condition and is applied to wet (fresco) and dry (secco) plaster. The secco parts seem to be done in tempera technique. This also leads to conclusion that the technique had been tempera; however the paints have not been analyzed yet . Another important evidence to trace the technique of wall paintings in Shreenath ji temple is that the painted surface with los't pigment is almost as shiny and smooth as the plaster itself, which mean the paintings had been made only after the plastered surface was finished. A detailed analysis of painting tells that perhaps there was no provision of preliminary sketch or drawing for the design part of composition, while the figures were firstly drawn and then coloured. Analysis by conservation team proves that the walls of Shreenath ji temple room were formely layered with kaudi plaster which can be found in fragments on walls underneath the actual lime plaster.