The Kishangarh School of miniature art is one of the most celebrated and vibrant schools of Rajasthani miniature art. Widely known for its detailed brushwork and soft pastel colours, it evokes deep spiritual themes, dream-like scenery, and architectural marvels influenced by Mughal and Rajput styles.
Reviving this 18th-century school of art, a new exhibition in Delhi titled ‘Ishq Chaman’ meaning ‘a garden of love’ brings an evolving dialogue between past and the present. The artworks feature skyscapes on massive canvases showcasing celestial elements. Further, textile works delve into the region’s cultural, and natural aesthetics. Many works are also done on Wasli paper — a kind of handmade paper along with the usage of natural pigments. The exhibition is brought to life by Vaishnavi Kumari of Kishangarh of the former royal family, who is also the founder of Studio Kishangarh, an art platform dedicated to preserving the art along with curator Monica Jain, founder-director of Art Centrix Space.
Kumari traces the foundation of this artistic tradition to Bhawani Das, a celebrated Mughal artist who arrived in Kishangarh from the imperial courts of Delhi around the early 1700s. “He played a crucial role in shaping the Kishangarh school, laying the groundwork for future generations of painters. Nihal Chand, a master painter who followed him, refined and perfected this unique style, creating some of the most iconic works associated with Kishangarh,” she says as many artworks in the exhibition feature Chand’s artistic legacy.
Kumari says that the rulers of Kishangarh were not just supporters of the arts, they were its driving force. “This patronage fostered an artistic expression steeped in devotion, poetry, and literature, particularly inspired by the Bhakti movement and the worship of Radha and Krishna. These influences gave Kishangarh paintings their distinctive elegance, lyrical quality, and spiritual depth, making them one of the most celebrated forms of Indian miniature art,” she says.
The displayed artworks take inspiration from the region’s natural beauty. On view are intricately painted flowers, lush landscapes, and graceful women with elongated features in traditional Mughal and Rajasthani attires. The skies are bathed in the golden hues of sunset, evoking a dreamy ambience while in some they bring a nocturnal glow painted in deep violet hues. Kumari says that the landscape remains a “key element” reflecting the scenery of Kishangarh.
At a time when easily made digital and ephemeral art forms dominate, the exhibition is a reminder of how years of practice could bring detailed beauty to miniature art. “What makes ‘Ishq Chaman’ particularly relevant to a Delhi audience is its ability to bridge historical tradition with contemporary relevance, reflecting the city’s role as a meeting point for diverse cultures and artistic expressions. The show is an ode to contemporary Indians, who, while recognised for their global outlook, remain firmly rooted in their heritage, balancing the preservation of cultural traditions with the aspirations of a rapidly evolving future,” says Jain.
‘Ishq Chaman’ is on view till March 22, Main Art Gallery, Bikaner House, Pandara Road