The miniature is, at its most basic, a portfolio painting that uses techniques similar to wall paintings, cloth paintings or manuscript illustrations from which it may have evolved. Examples of miniatures in the Mughal and Rajasthani styles exist from the 16th century on when there was an effloresence of the art. Just as there is a difference in the romantic Kangra style, so too the Mughal and Rajasthani styles developed separate identities that, though less apparent to the layperson's eye, nevertheless stand out clearly as far as the The miniature is, at its most basic, a portfolio painting that uses techniques similar to wall paintings, cloth paintings or manuscript illustrations from which it may have evolved. Examples of miniatures in the Mughal and Rajasthani styles exist from the 16th century on when there was an effloresence of the art. Just as there is a difference in the romantic Kangra style, so too the Mughal and Rajasthani styles developed separate identities that, though less apparent to the layperson's eye, nevertheless stand out clearly as far as the connoisseur of art is concerned.

While the Mughal style derived its inspiration from its patrons, and more particularly its emperors, chief among them Akbar, Jehangir and Shah Jehan, the Rajasthani school of miniatures was characterised by a revival based on its increasing contact with the Mughal durbar. However, the Rajasthani miniature was marked through its use of bolder colours, the ornamental depiction of nature, accentuated human forms, all of them designed to reflect the altogether more flamboyant Rajput culture.

From the 16th century through the 18th, the miniature style developed independently in the kingdoms, the differences being marked in the way the painter looked at the countryside, the hills and shrubs, the forts and gardens and dunes of the desert. There is enough evidence to show that miniature style paintings had flourished before the establishment of the 16th century Mughal studios, particularly as illustrations for manuscripts, and that Akbar hired many of his court painters from Hindu kingdoms in north India.

Eventually it was not uncommon to find Muslim artists working in the ateliers of Rajput courts, and Hindu artists seeking similar employment in the Mughal court. Even the atelier in Chittaurgarh, in the decades that it spent in defiance of the subject of Rajasthani miniatures could range over a variety of subjects - the kingly, religious, secular -all different shades of life.

Naturally, the ecstatic frolics of Krishna and the gopis formed a favourite subject, one of the most endearing being depictions of Krishna Leela as a body of work. In the Gita Govinda, also developed as a series, the miniature became a lyrical symbol with swaying lotuses, meandering streams, and trees in bloom suggesting the intimate passions of lovers. While epics formed the subject for religious works of art, particularly the Ramayana and the Mahabharata, the dalliances of Krishna were in a more romantic mould. Later, shades of royal lifestyle permeated the canvas of the painters, and ranged from scenes of hunts to ladies playing chess, or polo.

Today, miniatures are turned out in almost assembly line in the studios that have been especially developed to cater to the tourist souvenir trade. Even now, the talent available is formidable, and while the best of the artists rarely see their way into the open market (they are commissioned directly, and their work may find its way into collections, or be used to illustrate prestigious art books). Mostly, the works are copies of earlier paintings, and original subjects would be hard to find. Studios continue to flourish in Jaipur and Udaipur, and more recently in Kishangarh as well.