COMMERCIAL ART 2019-20 PAHARI MINIATURE PAINTING : 17TH TO 18TH CENTURY

School Patron king Artist & Features

Manuscripts
BASHOLI Raja Kirpal Devi Das: Artists migrated from Mughal Court during Aurangzed rule, Folk art of
17-18 c Chand Manku: Hill States,
(1678–93). Ras Manjari Bright Colours
ughda Nayka A vigorous, bold and imaginative artistic style, rich, stylish and
Geet Govind unconventional.
GULER Raja Dalip Nainsukh: 1780s ‘Guler Kalam’ on its peak, Guler Kings had friendly relations with
1555 Singh (1645– Pandit Seu Mughal Emperors,
1743) Manaku Soft Colours
Raja Balwant Geet Govind, Early phase of Kangra Kalam. Middle of 18 C. some Hindu artists trained
Singh Jasrota Bhagwat in Mughal style sought the patronage of the Rajas of Guler. Delicacy and
Raja Puran a spirituality of feeling. The colours which emphasize cool blues and
Goverdhan Baramasa greens are handled with skill. colors of the dawn and the rainbow.
Chand (portraits) Ragmala Longest tradition in the art of painting.
KANGRA Raja Sansar Family of Guler Kalam transformed as ‘Kangra Kalam’.
18 C. Chand Nainsukh It became prevalent with the fading of Basohli school of painting in mid-
Golden (c.1765- 18th century, and soon produced such a magnitude in paintings both in
Period 1823), content as well as volume, that the Pahari painting school, came to be
known as Kangra paintings. Kangra Style later spread in all parts of
Princely hill states. It became the most important center of Pahari
painting.
Maharaja Sansar Chand Museum, at Kangra Fort Himachal.
KULLU Raja Raghbir Kullu The art of painting in Kullu style are an exquisite expression of its iconic
MANDI Singh of Ramayan beauty. Common features with Basholi art as the similarities, Same
Shangari Bhagwat painters from Basholi were sent to Kullu to depict life of Lord Rama, the
Puran family deity of Pahari rulers. Album of Rama famous as ‘Shangari
Ramayana’. (Bal Kanda, Ayodhya Kanda, Uttar Kanda etc have been
painted). These are in possession of Raja Raghbir Singh of Shangari in
Kullu valley. The paintings in Mandi also had their share from Mughal
strokes. Mandi painters portrayed religious legends of Shiva, parts from
Bhagwata and Ramayana. Some paintings have been devoted to the
actions of ‘Madho Rai’, as Krishna was known in Mandi. (Hardness of
facial expressions)
GHARWAL Chand Maula Ram Impression of Kangra,
Dynasty, Chaitu The long and stable rule of the Chand Dynasty starting in the 13th C.,
Prithvi Shah (Manku over the Kumaon region. Around the middle of the 17th century C.E.,
Family) Dara Shikoh’s son, Sulaiman Shikoh sought asylum from King Prithvi Shah
of Garhwal. He brought with him, as part of his group, two court
painters, Shyamdas and his son Hardas.
Though 19 months later the Mughal King was captured and taken away,
the painters enchanted by the beauty of the region chose to stay back.
Appointed as royal Tasbirdar (picture-makers).
Further, the matrimonial alliances between the Kingdoms of Garhwal
and Kangra, prompted many artists from Kangra to come and settle in
Garhwal. .
CHAMBA Raja Uday Durga, Nikku, Folk + Mughal influence ,
Singh Lehru, Miyan Radha Krishna, Shiv Parvati, Krishna Yashodha, Love scenes, Birds,
Raja Raj Singh Jara Singh Animals, Gopies
Umed Singh Nikku, the artist of Basohli migrating from Guler to Chamba in 18 C. Raja
Charhut Singh Udai Singh and Raja Jai Singh patronised this school of painting. The
paintings of Chamba encompass both miniatures and murals and
the Mughal influence is clearly discerned in these paintings. Hindu
religious themes such as Radha Krishna, Shiva-
Parvati, Rama Darbar, Yashoda and Krishna, Gopis, love scenes, deer,
birds and women, Daya Saptashati and Krishna Sudama, monsoon
season. Displayed at the museums of Chamba and also
at Shimla and Dharamsala.