Two conclusions may be suggested about the early history of Rajput painting, first that in the seventeenth century the style of the Hills, represented by the Basohli school, and that of the Plains were not very far apart. Some undated Basohli miniatures in the William Rothenstein Collection, in Lahore Museum, the Tagore Collection, and elsewhere, are in a strongly individual style, rich and pompous in spite of the monotony of composition and lack of suppleness. These too, are comparable, in their simple colour scheme, their delightful use of transparent textiles, and above all in their dramatic quality, to the Ragmala paintings of the Plain.
Without going as far as N. C. Mehta who suggested that the Gujarati school had a wider geographical extension to include much of Rajputana, it can be admitted that he is surely right in saying that the evolution of Rajput painting is vitally connected with the older tradition of Gujarati paintings.
The course we have followed would suggest that the Gujarati school was, in fact, only the most flourishing branch of the northern Indian painting in the fifteenth and early sixteenth century, and secondly, that it served as a bridge for the introduction to Rajputana of certain Persian elements. In all the work considered so far the influence of Mughal painting is superficial and subordinated to the native tradition.

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