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Rajeshwari might have borrowed or acquired the book, which later came into safer hands! Kamat Potpourri gratefully acknowledges, Dr Rajeshwari's willingness to use the pictures of the great Art lover, Balasaheb Pandit Pant Pratinidhi who published this Chitra Ramayana and liberally provided illustrations to make the story of Rama highly interesting. The painting is rendered in a style with naturalistic yet lyrical and delicate. Unfortunately, every surviving painting has the stamp of Nanjangud Public library. This folio, from the late 18th Century, belongs to the Guler Ramayana, and is attributed to the first generation of artists of the family after the master artists Manaku and Nainsukh. Other loosely pasted paintings are torn or fallen off.
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This dilapidated volume now contains only 37 of the paintings. Balasaheb painted them – to bring out the message of Ramayana better. This present book, an old edition of Ramayana perhaps, originally contained, 70 paintings based on various anecdotes and events connected with Rama. It is all the more important because the book contains illustrations painted by the publisher also called Bhavan Rao Shrinivas Rao, the ruler of the state of Aundh himself. The Kannada version is by Ramachandra Madhwa Mahishi Unfortunately, every surviving painting has the stamp of Nanjangud Public library. Painting from India's Rajput Courts, The Kronos Collections Terence McInerney, Steven M. It was published by, Shrimat Balasaheb Pandit Pant Pratinidhi, chief of Aundh, at Aundh, Satara district. Balasaheb painted them to bring out the message of Ramayana better. Miller, Superintendent, British India, Press, Mazgaon, Bombay.
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Hanuman Paintings are believed to keep the evil spirits away. Exotic India Art brings to you several paintings of Hanuman made by Indian artist. There are several legends about Hanuman and his supreme powers. The thick pages have become brittle and need careful handling. Hanuman, a Hindu deity and an ardent devotee of Rama is considered to be the son of Vayu. The characters were depicted in the traditional manner, while the innovations include the emphasis on trees and other plants, as well as the use of a solid yellow background, instead of the traditional wind and cloud motifs.Chitra Ramayana (Illustrated Ramayana) is a simplified story of the great Indian epic in Kannada. These experiments were undertaken in response to the new style of painting in other parts of Bali. In all traditional versions of this episode and all other stories from the Ramayana, servants Twalen and Merdah would accompany Rama, and Delem and Sangut would appear with Rawana.Īnthony Forge asserted that this small painting was an example of experimentation with new stylistic trends developing in Kamasan in the 1930s. The major iconographic innovation depicted in this painting is the total absence of the servant figures. The villain king reaches for his dagger, kris, while holding Sita trapped in his other arm. In the top half of the painting, the mythological bird Jatayu intercepts the abductor Rawana. In this exquisite painting, Sugriva, Rama’s friend is seen challenging his brother Bali to fight for the possession of the monkey-throne of Kishkindha. Beautiful Indian work of art by an unknown artist. To the right, separated by a tree that looks like an overgrown flower, the demonic king Rawana abducts Sita. Sugriva challenges Bali, painting from a manuscript of the Kishkindhakanda of the Ramayana copied by Mahatma Hirananda, Udaipur. At the bottom left Laksama finds his brother Rama, expressing deep emotion on realising that his wife, goddess Sita has been left alone. In various versions of the Ramayana and other folktales, we get numerous glimpses of Shri Rams human emotions and empathetic attitude towards people that. This painting illustrates the story of Sita’s abduction in three episodes.