The enchanting miniatures

Hans India

22-06-2025

Kishangarh miniature painting artist Tilak Gitai (Padma Shri awardee) hails from the second generation of royal court painters patronized by the rulers of Bikaner. One of his Ragamala painting series, done on ivory, is displayed at the Museum D'Ethnographie in Geneva. Other collections are housed at the Victoria and Albert Museum, London, the National Museum of Ethnology, Japan, and the National Crafts Museum, New Delhi.
Miniature paintings from Kishangarh are particularly known for their depiction of the 'Nayika'—characterized by lotus-like eyes, a sharp nose, thin sensitive lips, a pointed chin, and eyebrows shaped like a bow. The 'Nayika' has curls of ebony hair, adorned with necklaces of precious stones, pearls, and a gold-embroidered wrap.
Tilak Gitai was at the Indian Institute of Technology (IIT) Hyderabad to conduct a Kishangarh miniature art intensive workshop for young participants from educational institutions across India, organized by SPIC MACAY.
Can you tell us how your journey started in this art?
My father was associated with this art and was commissioned for various artistic works by Maharaja Ganga Singh of Bikaner. I did my schooling in Jaipur and had a flair for drawing. Once, my school teacher doubted whether I had traced my drawing using butter tracing paper. To confirm his suspicion, he handed me a piece of chalk and asked me to replicate the drawing on the blackboard.
In 1949, my father established the Rajasthan Kala Mandir in Jaipur and continued promoting the art form. He encouraged me to meet senior artists so I could learn its finer intricacies. I took guidance from Sri Ram Gopal Vijayvargiya and Ved Pal Sharma. Meanwhile, I enrolled in the College of Art, New Delhi, and graduated with a BFA as part of its first batch.
What made you create Ragamala paintings in the Kishangarh style?
In one sentence, I can say that the iconography of the Kishangarh school of art is melodious. No known Ragamala painting had been created in this school of art, so I took it upon myself to do so. I have also authored a book titled Raga Mala – The Missing Link, which explains the ragas, their structure, timing, associated seasons, and the logic behind the colours and iconography used in each painting.
How difficult is this art to practice?
Miniature art demands immense concentration and patience. It's a meditative form of art—one must be completely immersed in it. It has never been easy for any serious practitioner. From learning how to make colours from natural materials, to experimenting and developing new techniques, much of it was a closely guarded secret. It took a long time to build confidence and truly understand the craft of color-making and mixing.
What steps need to be taken to preserve this art form?
We must study the education systems and heritage conservation cultures prevalent in developed countries. By aligning our policies accordingly, we can spark a mindset shift in India. The level of historical conservation and museum development seen abroad must serve as a model. India needs to make heritage education more accessible to the general public.
Do youngsters come forward to learn this art?
Youngsters do show interest in learning. However, our education system doesn't provide them the opportunity to pursue a profession in this field from a young age. Peer pressure also plays a major role, often pushing students toward becoming doctors or engineers instead.