"Sensitive, reticent, and tender, it perfectly reflects the self-control and sweet serenity of Indian life, and the definitely theocratic and aristocratic organization of Indian society. It lends itself to the utterance of serene passion and the expression of unmixed emotions"- Dr Coomaraswamy

The remarkable works of the artists, who were indeed the part of the princely court of Rajasthan, delineated the final chapter of Indian painting while making it an illustration of Indian artistry. In the rich timeline of Indian painting this has been termed as the Rajput painting which still stand as the logo of contemporaneity and simplicity. Rajput painting is a particular style of painting that was far different in subject-matter and conception from the exactly contemporary work of the artists attached to the courts of the Mughals. With its roots deeply seated in Indian tradition and heritage Rajput school of painting is the pictorial counterpart of Indian epics, romantic Vaishnava literature, and musical modes of India.

The development of the Rajput painting is therefore the vivid counterpart of the vernacular literature of India. Quite ideally therefore the Rajput paintings to a great extent are the product of the development of the popular concept of Vaishnavism which centred particularly on the devotion to Rama and Krishna. Beginning in the late 16th century Rajput painting thus amidst its lines, curves, colours and hues ideally coincided with the renaissance of Hindu literature where the Bhakti cult indeed played a predominant role.

The technique of Rajput painting was not much different from that of the classic wall-paintings however the only difference was, the pictures were illustrated on the paper instead of being depicted on walls and ceilings. The elements of the composition were first outlined with the brush in light red, over a preliminary hard pencil outline. After the entire surface had been covered with a white priming of starch paste, the main lines were re-drawn in black. The background was then coloured to offer that desired effect.

The influence of the contemporary schools that flourished at the courts of the Mogul emperors played a significant role in the growth and development of Rajput painting. With its sheer effervescence Rajput painting was lyrical and emotional rather than intellectual, appealing more to the heart than the mind. The refinement of art was missing, the élan of the Mughal art was also not there in Rajput paintings yet the bold, primitive and simple quality of Rajput painting suggested the abstract use of form and colour in modern art. The timeline of Rajput painting is divided into an early period (sixteenth and early seventeenth centuries) and a late period from c. 1630 to 1825. According to a geographical division, the miniatures may be assigned to the schools of Rajputana and central India, generally designated as Rajasthani, and the work done in the Punjab Himalayas and Garhwal, referred to as Pahari.

All Rajput painting, both early and late, may be considered according to the themes they illustrate. While the first category of themes comprises the illustration of Ragas and Riginis, the second category comprises the illustrations of the Indian epics and romances, such as the Mahdbhdrata and the Rdmdyana and also covers the stories of Rajput chivalry. Puranic and tantric texts contours the third group themes in Rajput painting and includes such subjects as the Birth of Brahma, the Churning of the Sea of Milk, as well as pictures of saktis of the great gods.

Deftly curved, elegantly painted, Rajput painting still murmurs the lingering reminiscences of an Indian primitive character where colour indeed played an important role in illustrating symbolism.