 |
|
|
|
|
|
|
Research Home
 Tools Art & Architecture Thesaurus Full Record Display
|
|
|
|
 |
|
|
|
 |
 |
|
|
|
|
|
|
Click the  icon to view the hierarchy. |
|
|
Kishangarh (Rajasthani (culture or style), Rajput, ... Styles and Periods (hierarchy name)) |
|
Note: Refers to an 18th-century Indian school of painting associated with the princely state of Kishangarh in central Rajasthan. Like other Rajput painting styles, it is somewhat indebted to contemporary Mughal painting. It is distinguished by its religious intensity and individualistic facial type consisting of pointed chins and noses, deeply curved eyes, and serpentine hair locks. Panoramic landscapes are often the background for the illustrated scene. An important patron during its formative phase was Raja Savant Singh (reigned 1748-57), who was himself a poet and devout member of the Vallabhacarya sect. The series of paintings of Radha and Krishna are particularly noteworthy. It is speculated that Savant Singh's lover may have been the model for the Kishangarh facial type. Nihal Chand is the master artist credited with transmitting his patron's romantic and religious into fresh visual images. The Kishangarh school continued at a lower level of achievement until the mid-19th century.
|
| Terms: |
|
| Kishangarh (preferred,C,U,English-P,D,U,A)
|
| Kishangarh (Spanish-P,D,U,U)
|
| Kishangarh (Dutch-P,D,U,U)
|
| Kishangarn school (C,U,English,UF,U,U)
|
| 基珊加 (C,U,Chinese (traditional)-P,D,U,U)
|
| 吉申格爾 (C,U,Chinese (traditional),UF,U,U)
|
| jī shān jiā (C,U,Chinese (transliterated Hanyu Pinyin)-P,UF,U,U)
|
| ji shan jia (C,U,Chinese (transliterated Pinyin without tones)-P,UF,U,U)
|
| chi shan chia (C,U,Chinese (transliterated Wade-Giles)-P,UF,U,U)
|
|
Facet/Hierarchy Code: F.FL |
Hierarchical Position:
|
|
|
Styles and Periods Facet |
|
|
.... Styles and Periods (hierarchy name) (G) |
|
|
........ <styles, periods, and cultures by region> (G) |
|
|
............ Asian (G) |
|
|
................ South Asian (G) |
|
|
.................... Indian (South Asian) (G) |
|
|
........................ Indian painting styles (G) |
|
|
............................ Rajput (G) |
|
|
................................ Rajasthani (culture or style) (G) |
|
|
.................................... Kishangarh (G) |
Additional Notes: |
|
| Chinese (traditional) ..... 指與位於拉賈斯坦中部的基珊加公國（Kishangarh）相關的一個十八世紀印度畫派。基珊加畫風與其他拉傑普特畫風一樣，多少受到當代蒙兀兒繪畫的影響。基珊加派特色為具有強烈的宗教氣息，個人臉部描繪方面則強調尖下巴與尖鼻子、深而圓的眼睛、如蛇一般的髮束。繪畫的背景多半為全景景觀。風格形成時期的重要贊助人是拉賈．薩番．辛格（Raja Savant Singh，在位期間：西元1748年至一1757年），他自己本身是位詩人，篤信聖瓦拉巴派（Vallabhacarya sect）。描繪拉達（Radha）與奎那師的一系列畫作尤其著名。根據猜測，薩番．辛的愛人可能是基珊加風格臉部型態的描繪典範。尼哈．長德（Nihal Chand）是此畫派的主要畫家，他將贊助人的浪漫情懷與宗教情感轉化成視覺影像。之後，基珊加畫派則疲軟的持續發展至西元十九世紀中。 |
| Dutch ..... Verwijst naar een 18de-eeuwse Indiase schildersschool die is verbonden met de prinselijke staat Kishangarh in centraal Rajasthan. Net als andere Rajput-schilderstijlen is ook deze school enigszins schatplichtig aan contemporaine Mogol-schilderkunst. De school wordt gekenmerkt door zijn religieuze intensiteit en individualistische gelaatsuitdrukking die bestaat uit puntige kinnen en neuzen, diep gekromde ogen en golvende haarlokken. Panoramische landschappen vormen vaak de achtergrond voor de geïllustreerde scène. Een belangrijke begunstiger gedurende de vormende fase was Raja Savant Singh (regeerde 1748-57), die zelf een dichter en devoot lid was van de Vallabhacarya-sekte. Vooral de reeks schilderijen van Radha en Krishna zijn opmerkelijk. Er wordt gespeculeerd dat Savant Singh's minnares mogelijk model heeft gestaan voor het Kishangarh-gelaatstype. Nihal Chand is de meesterkunstenaar aan wie de verdienste wordt toegeschreven dat hij de romantische en religieuze aard van zijn begunstiger heeft omgezet in frisse, visuele beelden. De Kishangarh-school bleef haar activiteiten op een lager prestatieniveau voortzetten tot halverwege de 19de eeuw. |
| Spanish ..... Se refiere a una escuela india de pintura del siglo XVIII asociada con el estado principesco de Kishangarh en Rajasthan central. Como otros estilos de pintura Rajput, se debe un poco a la pintura Mughal contemporánea. Se caracteriza por su intensidad religiosa y tipo facial individualista que consiste en barbillas y narices puntiagudas, ojos profundamente curvados y mechones de pelo serpentinos. Los paisajes panorámicos son a menudo el fondo para la escena ilustrada. Un mecenas importante durante su fase formativa fue el Raja Savant Singh (reinado 1748-57), quien era él mismo poeta y miembro devoto de la secta de Vallabhacarya. Las series de pinturas de Radha y Krishna son particularmente notables. Se especula que el amante de Savant Singh puede haber sido la modelo del tipo facial Kishangarh. Se le atribuye al maestro artista Nihal Chand el transmitir su patrón romántico y religioso a frescas imágenes visuales. La escuela de Kishangarh continuó en un nivel de realización menor hasta mediados del siglo XIX. |
|
Sources and Contributors: |
|
| Kishangarh............ |
[CDBP-SNPC Preferred, RKD, AAT-Ned Preferred, VP Preferred] |
| ....................... |
AAT-Ned (1994-) |
| ....................... |
Dasai, Life at Court (1985) 157 |
| ....................... |
Encyclopedia Britannica Online (2002-) "Kishangarh." accessed 9/27/00. |
| ....................... |
Grove Dictionary of Art (1996) Vol. 15, 611 |
| ....................... |
Khandalavala et al., Miniature Painting (1960) TABC |
| ....................... |
Leach, Indian Miniature Paintings (1986) vi |
| ....................... |
Pal, Court Paintings of India (1983) 333 |
| ....................... |
Pearman, CMA Slide Library Classification (1980s) 324 |
| ....................... |
TAA database (2000-) |
| ....................... |
Tandan, Indian Miniature Painting (1982) 13 |
| ....................... |
Times atlas of the world (1990) |
| ....................... |
University of Michigan Slide Classification (n.d.) 5H |
|
|
