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Kishangarh Painting emerged as a distinctive style in the middle of 18th century under the patronage of Maharaja Sawant Singh. Nihal Chand, a gifted artist in the Maharaja's court, produced some highly individualistic and sophisticated works.<br/><br/> The chief characteristics of the Kishengarh paintings were the elongation of human faces, lavish use of green and depiction of panoramic landscapes. Portrayal of Radha and Krishna in elongated faces is a common subject of Kishangarh paintings. The elongated neck, the long stylised eyes with drooping eyelids, the thin lips and pointed chin of Radha standing in a graceful pose with her head covered with a muslin odhni, is undoubtedly the most striking creation of the Kishangarh school. This style continued into the 19th century and a series of paintings of the Gita Govinda were produced in 1820.<br/><br/> The most famous Kishangarh painting is called Bani Thani. The Indian government has used it on a postal stamp. The Bani Thani style of painting got its name from a story with a twist of romance to it. In the Kishangarh court during the 18th century there ruled a poet-king called Raja Samant Singh (1699–1764) who had eyes only for Bani Thani, a court singer and poet. Bani Thani’s eyes were what drew Samant Singh to her, and so did her singing. Seeing Bani Thani singing in his court each day helped the king’s heart grow fonder. Now Samant Singh wrote poetry under the name of Nagari Das, and since Bani Thani was a poet in her own right too, love was not far behind.<br/><br/>
Kishangarh Painting emerged as a distinctive style in the middle of 18th century under the patronage of Maharaja Sawant Singh. Nihal Chand, a gifted artist in the Maharaja's court, produced some highly individualistic and sophisticated works.<br/><br/> The chief characteristics of the Kishengarh paintings were the elongation of human faces, lavish use of green and depiction of panoramic landscapes. Portrayal of Radha and Krishna in elongated faces is a common subject of Kishangarh paintings. The elongated neck, the long stylised eyes with drooping eyelids, the thin lips and pointed chin of Radha standing in a graceful pose with her head covered with a muslin odhni, is undoubtedly the most striking creation of the Kishangarh school. This style continued into the 19th century and a series of paintings of the Gita Govinda were produced in 1820.<br/><br/> The most famous Kishangarh painting is called Bani Thani. The Indian government has used it on a postal stamp. The Bani Thani style of painting got its name from a story with a twist of romance to it. In the Kishangarh court during the 18th century there ruled a poet-king called Raja Samant Singh (1699–1764) who had eyes only for Bani Thani, a court singer and poet. Bani Thani’s eyes were what drew Samant Singh to her, and so did her singing. Seeing Bani Thani singing in his court each day helped the king’s heart grow fonder. Now Samant Singh wrote poetry under the name of Nagari Das, and since Bani Thani was a poet in her own right too, love was not far behind.<br/><br/>
Begum Nur Jahan (Persian/Urdu: نور جہاں ) (alternative spelling Noor Jahan, Nur Jehan, Nor Jahan, etc.) (1577–1645), also known as Mehr-un-Nisaa, was an Empress of the Mughal Dynasty that ruled much of the Indian subcontinent. She was an aunt of Empress Mumtaz Mahal, Emperor Shah Jahan's wife for whom the Taj Mahal was constructed.<br/><br/> Begum Nur Jahan was the twentieth and favourite wife of Mughal Emperor Jahangir, who was her second husband - and the most famous Empress of the Mughal Empire. The story of the couple's infatuation for each other and the relationship that abided between them is the stuff of many (often apocryphal) legends.<br/><br/> She remains historically significant for the sheer amount of imperial authority she wielded - the true 'power behind the throne', as Jehangir was battling serious addictions to alcohol and opium throughout his reign - and is known as one of the most powerful women who ruled India.
The tambura, tanpura, tamboura or taanpura or tanipurani is a long-necked plucked lute (a stringed instrument found in different forms and in many places). The body shape of the tambura somewhat resembles that of the sitar, but it has no frets – and the strings are played open.<br/><br/> One or more tamburas may accompany other musicians or vocalists. It has four or five (rarely six) wire strings, which are plucked one after another in a regular pattern to create a harmonic resonance on the basic note (bourdon or drone function). An electronic tanpura is often substituted in contemporary Indian classical music performance.