8
Comprehension : (86-90)
Read the given passage and answer the questions that follow.
The term 'Rajasthani Schools of Painting' pertains to the schools of painting that prevailed in the princely kingdoms of what roughly constitutes Rajasthan and parts of Madhya Pradesh in the present time, such as Mewar, Bundi, Kota, Jaipur, Bikaner, Kishangarh, Jodhpur (Marwar), Malwa, Sirohi and other such principalities largely between the sixteenth and early nineteenth centuries. Scholar Anand Coomaraswamy in 1916 coined the term 'Rajput Paintings' to refer to these as most rulers and patrons of these kingdoms were Rajputs. He, specifically, coined it to categorise and differentiate this group from the much known Mughal School of Painting. Therefore, Malwa, comprising princedoms of Central India, and the Pahari Schools that comprises the pahari or mountainous Himalayan region of north-western India was also in the ambit of Rajput Schools. For Coomaraswamy, the nomenclature represented the Ingneous tradition of painting prevalent in the mainland before the conquest by the Mughals. Studies in Indian paintings have come a long way since then and the term 'Rajput Schools' in obsolete. Instead, specific categories, such as Rajasthani and Pahari are employed. Though separated by short distances, the pictorial styles that emerged and evolved in these kingdoms were significantly diverse in terms of either execution – fine or bold; preference of colours (brilliant or gentle); compositional elements (depiction of architecture, figures and nature); modes of narration; affinity for naturalism or had emphasis on extreme mannerism. Paintings were painted on waslis layered, thin sheets of hand-made papers glued together to get the desired thickness. The outline was sketched on waslis in black or brown followed by colours fixed there in by brief notations or sample patches. Colour pigments were predominantly obtained from minerals and precious metals like gold and silver that were mixed with glue as the binding medium. Camel and squirrel hair were used in brushes. On completion, the painting was burnished with an agate to lend it a uniform sheen and an appealing resplendence. The painting activity was a kind of teamwork, with the master artist composing and doing preliminary drawings, followed by pupils or experts of colouring, portraiture, architecture, landscape, animals, etc., taking over and doing their bit, and finally, the master artist putting the finishing touches. The scribe would write the verse in the space left for the one.
The central theme of the passage is :
