The correct option is Tracing and pouncing.
Explanation
The Jaipur School of painting, a prominent sub-school of Rajasthani miniature painting, flourished under the patronage of the Kachhwaha rulers. To meet the high demand for portraits of rulers, deities, and mythological scenes, artists in the royal ateliers (Karkhanas) developed methods to replicate master compositions accurately.
Analysis of the Technique:
- Tracing and Pouncing (Charba): The primary method for producing copies was the use of a Charba. A Charba is a tracing of the original painting made on a transparent medium, such as deer skin or thin paper.
- Tracing: The artist would trace the main lines of the master drawing.
- Pouncing: The outlines of the tracing were pricked with a fine needle. To transfer the design onto a new sheet (Vasli), a small cloth bag filled with charcoal dust or powdered pigment was patted or "pounced" over the perforated lines. This left a dotted outline on the new surface, which the artist would then complete with colors.
- Woodblock printing: While Jaipur is famous for woodblock printing (e.g., Sanganeri and Bagru prints), this technique was primarily used for textiles, not for the nuanced layering required in miniature paintings.
- Lithography: This is a mechanical printing process introduced in India during the late 19th century. It post-dates the peak traditional period of the Jaipur School and is distinct from hand-painted replication.
- Stenciling: While similar in principle to pouncing, stenciling usually involves cutting out shapes (as seen in Sanjhi art) rather than the prick-and-dust method used for detailed miniatures.
Key Takeaway: The Charba technique, utilizing tracing and pouncing, was the standard method employed in Indian miniature schools to preserve master outlines and mass-produce paintings.