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Paintings > Batik > Bani Thani (An Indian Mona Lisa?)
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Bani Thani (An Indian Mona Lisa?)

Bani Thani (An Indian Mona Lisa?)

Bani Thani (An Indian Mona Lisa?)

(Rated 3.0)
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Batik Painting On Cotton

2.3 ft x 3.6 ft
Item Code:
BF90
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$85.00   Shipping Free - 4 to 6 days
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Bani Thani (An Indian Mona Lisa?)
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Viewed 42792 times since 14th Aug, 2010
This portrait is painted in the typical style of the Kishangarh school of Indian miniature painting. Kishangarh itself is a small town in Rajasthan, approx. one hundred kms. from Jaipur.

The lady in this portrait is Bani Thani, and has an interesting story behind her:

King Sawant Singh (1748-1764), the seventh ruler of Kishangarh, was an accomplished poet and artist in his own right. It so transpired that his stepmother employed a young girl as a singer in her palace. She came to the notice of Sawant Singh who fell in love with her. Her real name is not known, but she came to be called Bani Thani, which means smart and well-dressed. She was a beautiful girl who also professed interest in Hindi poetry. She became Sawant Singh's mistress. It is conjectured that the bloom of her youth and beauty not only roused unholy thoughts in the hearts of men who saw her, but also provided inspiration to the Kishangarh artists to whom credit is given for the invention of the Kishangarh facial formula.

Bani Thani here is portrayed with an elongated face, arched eyebrows, lotus-like eyes tinged with pink, a sharp nose and a pointed chin. Obviously, it is an idealization, for no woman would have such eyes, here we notice a resemblance with the technique of the Kangra painters. It is not the beauty of a single person, but the ideal beauty which the artist paints. It is based on the ideal type given in the Sanskrit love poetry, viz. 'Padmakshi' or lotus-eyed. It represents the Rajput ideal of feminine beauty at its best. Those who delight in parallels call her the Indian Mona Lisa. Her face is delicate and refined, more like that of a courtesan. Her eyebrows are curved like a bow. Her neck is decorated with necklaces of pearls and precious stones. She has draped herself in a transparent wrap which greatly enhances her charm. Which woman of today would not envy her dreamy eyes, her shapely nose, her fastidious lips, the glamour of her clothes and ornaments, and, above all, her seductive charm?


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  • :: "किशनगढ़ (राझस्तान) का दबस्तान चित्रकारी तथा बनी ठनी ':::
    :: लेख: अहमद सखील ::
    राझस्तान में चित्रकारी की परंपरा सदियों पुरानी है. खासकर किशनगढ़ में "मेनचरज़" चित्र खदोखाल, बनावट, रंग और बियानिया ासाटियरी प्रकृति है. किशन गड़ह की चित्रकारी में एक पौराणिक या फर्जी भूमिका "बनी ठनी" हमेशा कुंजी प्राप्त रखी है. किशनगढ़ के सातवें (7) शासक सावंत सिंह (1699.1764) जो कलाकार और कवि होने के अलावा कला समर्थक शासक थे. उनकी सौतेली मां बीनकाूती जी ने दिल्ली की एक गाईकह बनी ठनी अपने दरबार में प्रवेश किया. बनी ठनी मगनिया तो थी साथ खी हिन्दी के कवि और उसका हसन शानदार था. किशनगढ़ की चित्रकारी मैन उसके नुकीले नाक, कमान दार ठोड़ी और सुराही दार गर्दन और खूबसूरत शरीर कई मदरों को मबालगे सीमा तक प्रभावित किया और बनी ठनी को भारतीय "मोना लिसा" कहा गया. यह भी कहा जाता है की बनी ठनी को राझस्तां और फ्लोरेंस (इटली) की कलात्मक (मदराना)
    दनियाों एक दोसरेमें एकीकृत दी गई. कहा जाता है कि बनी ठनी के रूप में मोना लिसा की व्याख्या नौ भी हो कोई. जब बनी ठनी किशनगढ़ के दरबार में बहतयत गायिका शामिल खोई तो सावंत सिंह के इश्क में गिरफ्तार हो जाएगा थे. वह वैष्णो शिक्षाओं के पदचिह्न रखे. सावंत संग, नागर दास के नाम से शायरी करते थे. वह आतंकवादी स्तर प्रेमी स्वभाव थे. यह भी कहा जाता है की "बनी ठनी" सावंत सिंह "रखैल" थी. जिसमें हसन, सांस्कृतिक विनम्रता, सामाजिक रखरखाव बहुत था. इसी कारण बनी ठनी किशनगढ़ की तहज़ीब, सौंदर्य मूल्य और ासाटियरी भूमिका बन गई. किशनगढ़ की चित्रकारी और बनी ठनी में प्रोफेसर एरिक डकनस, कार्ल कंडीला और डॉ. उदार अली खान उन्नत महककानह और आलोचनात्मक काम किया है जैसे ललयत कला अकादमी, दिल्ली ने प्रकाशित किया है. और किशन के कलाकार शहजाद अली खान ने संदर्भ शानदार तसावीरबनाकरमदरी इस पंथ चिंता को जीवित रखा हुआ है.
    by Ahmed Sohail on 25th Jun 2014
  • ::: "کشن گڑھ (راجھستان) کا دبستان مصوری اور اور بنی ٹھنی":::
    :: تحریر: احمد سھیل::
    راجھستان میں مصوری کی روایت صدیوں قدیم ھے۔ خاص کر کشن گڑھ میں "مینچرز" تصاویر کے خدوخال، ساخت، رنگ اور بیانیہ اساطیری نوعیت کا ھے۔ کشن گڑہ کی مصوری میں ایک افسانوی یا فرضی کردار " بنی ٹھنی" کو ہمیشہ کلیدی حاصل رھی ھے۔ کشن گڑھ کے ساتویں (7) حکمران ساونت سنگھ (1699۔1764) جو مصور اور شاعر ھونے کے علاوہ فن نواز حکمران بھی تھے۔ ان کی سوتیلی ماں بینکاوتی جی نے دہلی کی ایک گائیکہ بنی ٹھنی کو اپنے دربار میں داخل کیا۔ بنی ٹھنی مغنیہ تو تھی ساتھ ھی ہندی کی شاعرہ اور اس کا حسن لاجواب تھا۔ کشن گڑھ کی مصوری مین اس کی نوک دار ناک، کمان دار ٹھوڑی، اور صراحی دار گردن اور خوب صورت جسم نے کئی مصوروں کو مبالغے کی حد تک متاثر کیا اور بنی ٹھنی کو ہندوستان کی "مونا لیزا" بھی کہا گیا۔ یہ بھی کہا جاتا ھے کی بنی ٹھنی کو راجھستاں اور فلورنس (اٹلی) کی فنکارانہ(مصورانہ)
    دنیاوں کو ایک دوسرےمیں ضم کردی گیا۔ کہا جاتا ھے کہ بنی ٹھنی کی صورت میں مونا لیزا کی تشریح نو بھی ھو ئی۔ جب بنی ٹھنی کشن گڑھ کے دربار میں بحثیت گلوکارہ شامل ھوئی تو ساونت سنگھ اس کے عشق میں گرفتار ھو گے تھے۔ وہ ویشنو تعلیمات کے زیر اثر رھے۔ ساونت سنگ، ناگری داس کے نام سے شاعری کیا کرتے تھے۔ وہ انتہا درجے کے عاشق مزاج تھے۔ یہ بھی کہا جاتا ھے کی "بنی ٹھنی" ساونت سنگھ کی "رکھیل "تھی۔ جس میں حسن، تہذیبی شائستگی، معاشرتی رکھ رکھاؤ بہت تھا۔ اسی سبب بنی ٹھنی کشن گڑھ کی تہزیبی، جمالیاتی قدر اور اساطیری کردار بن گئی۔ کشن گڑھ کی مصوری اور بنی ٹھنی پر پروفیسر ایرک ڈکنس ،کارل کنڈیلا اور ڈاکٹر فیاض علی خان نے اعلی درجے کا محققانہ اور تنقیدی کام کیا ھے جیسے للیت کلا اکادمی ، دہلی نے شائع بھی کیا ھے۔اور کشن کے مصور شہزاد علی خان نے اس حوالے شاندار تصاویربناکرمصوری کے اس مکتبہ فکر کو زندہ رکھا ھوا ھے۔
    by Ahmed Sohail on 25th Jun 2014
  • When I saw Bani Thani, when I heard her sing
    by Raj Arumugam


    O Bani Thani
    I grow thin, wanting you;
    O you of the drooping eyes and long neck
    O Bani Thani, O sublime poetess and singer
    who walks gracefully through the halls of Kishangarh
    I hear
    you are in my stepmother’s service;
    and the songs you sing
    though they are most sublime
    they lure me into unholy thoughts, O Bani Thani
    as do your drooping eyes, your lips curved into a smile
    You walk head high always, they say
    and you look directly ahead even when I am nigh
    and yet that too invites me to wander over the landscape of your face
    your drooping eyes, your drooping eyes
    the eyebrow like a bow, the bow of Rajput warriors
    whose arrows pierce with vigour
    the elongated face, O Bani Thani
    your elongated face and nose and curls of hair
    that flow to your waist
    and that visage and seduction all graced in muslin odhni
    O Bani Thani
    I hear your voice, I hear your songs
    and your poems are recited here by the men even in the streets –
    O but do you hear mine, do you hear my poems of
    love, lust and thoughts unholy?
    O do you hear my poems of pain and longing? –
    all arising, all arising, O Bani Thani
    everything in my manhood aroused
    as I see you walk by, as I hear you sing
    as I hear you play on your instruments
    O Bani Thani, Bani Thani –
    sing to me, sing to me:
    What is my end, what is my fate
    in this my love and longing for you?
    by Raj Arumugam on 5th Jan 2013
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