The ancient Indian culture had always made an
interesting reading, as it had something significant
to contribute in the field of human value system. Art
is an integral part of culture. Therefore the study of
art in the backdrop of our ancient culture makes it
not only interesting but also in the process add rich
value to our learning. Under this context a study of
Mysore Paintings, a rich traditional art form of South
India enables us to understand the rich cultural
values of our past.
The state of Mysore (now called Karnataka) has a
unique distinction of pioneering an attractive form of
art during 17th and 18th centuries, which later became
commonly known as the Mysore School. Historically,
Mysore had been a place governed by many a rulers who
had a strong passion for visual arts, which included
architecture and painting. The intricate work which
has been done on several of the temples, palaces and
forts in Mysore stands testimony to the architectural
and sculpting capabilities of the craft persons of
Mysore in the earlier days.
Raja Woodeyar(1578-1617 AD) is traced to have made
some significant contribution to the cause of artists
in the different parts of the erstwhile state of
Mysore. He had even built two temples, one at
Srirangapatna and the other at Ganjam for Nimishamba
Devi, a deity worshipped by the artist community.
Artists during this period were engaged in different
forms of art which included decorative works in
temples, painting temple cars and walls, making temple
banners, painting portraits of rulers, saints and
deities. It was during the reign of Mummadi
Krishnaraja Woodeyar(after the death of Tippu Sultan
in 1799 AD), Mysore witnessed a major fillip in the
field of visual arts. The paintings during his period
had a variety - murals depicting several scenes of
Hindu mythology, portraits of heroes and kings, icons
of Hindu mythology, strictly adhering to the
iconography principles. These paintings found its
place in temples, palaces, community buildings and
houses belonging to royalty and rich merchants.
In the traditional Mysore paintings, the artists used
to prepare all the input materials required for
executing the painting. This would include brushes,
paints, board, gold foil etc. Artists used vegetable
and mineral colours made out of pigments of leaves and
flowers of various plants and minerals. Today the
painting is done with commercially available media
like poster and water colours. In the ancient times,
paper, wood, wall and cloth formed the base for doing
the painting. In modern times it is done mostly on
paper pasted on to a board with glue or some other
adhesive medium.
After the preparation of the board, the required
sketch is then made on the paper with a pencil. If a
tracing of the sketch is already available it is then
transferred on to the board with a carbon paper. In
the earlier days, sketching was made with charcoal
prepared by burning tamarind twigs in an iron tube.
Colours made out of minerals were prepared by grinding
the minerals in a stone mortar and then put in water
to make them soft in form of a paste. Brushes were
made of different materials, which included squirrel,
camel and goat hair. Sometimes grass blades were also
used for making sharp lines. Today, commercially
available water and poster colours are used with
brushes of different grade available in the market.
Once the sketch is made, the gesso work is taken up on
the area ear marked. Gesso work is normally done where
embellishments are to be made. Design work is carried
out on the mandapams, the jewelleries, the attire
etc., with a specially prepared compound and a brush.
On the completion of the work, after the compound
dries, gold foils are placed over them and stuck
firmly. Painting is subsequently done. After the
painting is completed and it dries, a thin paper is
placed on top of it and rubbed softly with a smooth
soft stone to bring the richness in the relief work
done with gold foil.
Though the Mysore School is an art form bearing
striking resemblance to the Mysore School, it may be
noted that there are distinct differences in the
style. While the Mysore School gives much of
prominence to the relief work done with gold foil and
embellishments with decorative stones, the Mysore
school underplays the relief work. The Mysore School
does not use stones, and the relief work is subtler.
The foil work is more delicate. In the Mysore school
extensive use of primary colours are made, viz. green,
red and blue. In the case of Mysore paintings , the
artist has the flexibility to use a wider spectrum of
colours and need not necessarily restrict the painting
to the deep primary colours. Besides in the
traditional Mysore School the colours are more flat,
while in the Mysore school the use of light and shade
effect is more predominant.
While it is apparent that during the last two decades
a lot of work has been done to revive the Mysore
School, the Mysore School still needs attention.
Currently there are a very few artists and art groups
who are engaged in this school. It would be the
endeavour of Raasi Art Foundation to revive this art
through research, education, training and promotion.
The Raasi Art Gallery houses some of the finest pieces
of Mysore paintings. These works are executed by
well-trained and talented artists and art groups.
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