CLASS 12 : FINE ARTS

UNIT : 1 - PAHARI SCHOOL OF MINIATURE PAINTING

ORIGIN AND DEVELOPMENT

Pahari denotes ‘hilly or mountainous’ in origin. Pahari Schools of Painting includes towns,
such as BASOHLI, GULER, KANGRA, KULLU, CHAMBA, MANKOT, NURPUR, MANDI,
BILASPUR, JAMMU and others in the HILLS OF WESTERN HIMALAYAS, which emerged as
centres of painting from 17th – 19th century.
The flamboyantly bold Basohli style is understood to be the earliest prevailing pictorial
language.
B. N. GOSWAMY, one of the most significant scholars of the Pahari Schools of Painting. For
Goswamy, it was the naturalism in these paintings that appealed to the sensibilities of
Pahari artists.
Middle of the 18th century, the style transformed through a pre-Kangra phase, maturing into
the Kangra style.
Compositions, show some paintings with decorated margins. Themes that included recording
the daily routine or important occasions from the lives of kings, creation of new prototype for
female form and an idealised face, are all associated with this newly emerging style that
gradually matures to the Kangra phase.

SUB – SCHOOL OF PAHARI MINIATURE PAINTING

BASOHLI

The first and most dramatic example of work from the hill states is from Basohli.
Under Kirpal Pal - Basohli developed a distinctive and magnificent style.
The most popular theme of Basohli painters was the RASAMANJARI of BHANU DATTA.
BHAGVATA PURANA and RAGAMALA were other popular themes.
Artist ateliers from Basohli, gradually, spread to other hill states, such as Chamba and
Kullu, giving rise to local variations of the Basohli kalam. A new style of painting came in
vogue during 1690s to 1730s, which was referred to as the Guler–Kangra phase.
The Sanskrit epic, RAMAYANA, was one of the favourite texts of the hill artists at Basohli, as
well as, Kullu.

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GULER

This phase first appeared in Guler, a high-ranking branch of the Kangra royal family, under
the patronage of Raja Govardhan Chand.
Guler artist Pandit Seu with his sons Manak(Manku) and Nainsukh are attributed with
changing the course of painting around 1730–40 to a new style, referred to as the pre–
Kangra or Guler–Kangra kalam.
Guler appears to have a long tradition of paintings amongst all Pahari schools.
Manak’s most outstanding work is a set of GITA GOVINDA painted in 1730 at Guler,
retaining some of the elements of the Basohli style, most strikingly the lavish use of beetle’s
wing casings. Manaku, did numerous portraits of his enthusiastic patron Raja Govardhan
Chand and his family.
Nainsukh’s celebrated pictures of Balwant Singh are unique in the kind of visual record
they offer of the patron’s life. Nainsukh’s genius was for individual portraiture that became a
salient feature of the later Pahari style.

KANGRA

Painting in the Kangra region blossomed under the patronage of a remarkable ruler, Raja
Sansar Chand.
Tira Sujanpur emerged as the most prolific centre of painting under his patronage.
An earlier phase of Kangra kalam paintings is witnessed in Alampur and the most matured
paintings were painted at Nadaun, where Sansar Chand shifted later in his life. All these
centres were on the banks of river Beas.
The Kangra style is by far the most poetic and lyrical of Indian styles marked with serene
beauty and delicacy of execution.
Characteristic features of the Kangra style are delicacy of line, brilliance of colour and
minuteness of decorative details.
Most popular themes that were painted were the BHAGVATA PURANA, GITA GOVINDA,
NALA DAMAYANTI, BIHARI SATSAI, RAGAMALA AND BARAMASA.
FATTU, PURKHU and KHUSHALA are important painters of the Kangra style.
This series of BHAGVATA PURANA paintings is one of the greatest achievements of Kangra
artists.
DEPICTION OF ASHTA NAYIKAS OR EIGHT HEROINES IS ONE OF THE MOST PAINTED
THEMES IN PAHARI PAINTINGS, INVOLVING THE DEPICTION OF WOMEN IN VARIOUS
DISPOSITIONS AND EMOTIVE STATES.

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 The Baramasa paintings, consisting of 12 folios, illustrating the modes of love or courtship
appropriate to each month of the year had become a popular theme in the hills during the
nineteenth century. An account of Baramasa is given by Keshav Das in the tenth chapter of
Kavipriya. He, thus, describes the hot month of Jyeshtha, which falls in the months of May
and June.

KULLU

Kullu emerged with a distinctive style, where figures had a prominent chin and wide open
eyes, and lavish use of grey and terracotta red colours in the background was made.
Shangri Ramayana is a well-known set painted in the Kullu Valley in the last quarter of the
17th century.

MANDI

Rulers of Mandi were ardent worshippers of Vishnu and Shiva. Hence, apart from the
Krishna Lila themes, Shaivite subjects were also painted.

GARHWAL

An artist named Molaram is associated with the Garhwal School. Several signed paintings by
him have been discovered.
This school was influenced by the Kangra style of Sansar Chand phase.

SUBJECT MATTER

The depiction of natural beauty and pleasant weather of this area, beauty of female figure,
romantic and religious themes are the main subject matter of Pahari miniature painting.
The poetry of Surdas, Tulsidas, Keshav, Motiram and Bihari have been beautifully painted
in Pahari miniature.
Beside we find the famous Ragamala paintings, Geet Govind of Jaidev, Nayak-Nayika bhed
was a source of inspiration to the artist.
All these romantic paintings are also related with religion. The HERO IN THESE PAINTINGS
IS KRISHNA AND THE HEROINE IS RADHA.

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 MAIN FEATURES OF PAHARI MINIATURE PAINTING

1. The depiction of natural beauty and pleasant weather is an important feature of Pahari
miniature.
2. The beauty of female figure is depicted gracefully in these paintings.
The female figure representing an ideal of beauty with rhythmic curved line and
innocent sensibility.
Female figure have high forehead, oval shaped face, sharpen nose, lotus petal like large
eyes.
The women wear tight half sleeve choli, long lehenga and head is covered with
transparent chunri.
3. The men wear tight paijama and short kurta with headgear.
4. Clarity of designs and lines, intensity of feelings which is achieved by the the use of golden
and bright colours.
5. Wonderful effect in paintings is created by the mixture of blue and yellow, red and blue, grey
and brown colours, which enrich the beauty of the painting.
6. Both religious and romantic paintings drawn beautifully in Pahari miniature painting.
7. Almost all the paintings are based on Hindu religion.

PAINTINGS IN PAHARI SCHOOL OF MINIATURE PAINTING

(VERY IMPORTANT TABLE**)

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KRISHNA WITH GOPIS

Artist- Manku

School- Pahari school

Sub school- Basohli

Medium- Watercolour on paper

Technique- Tempera

Subject Matter- This painting is a

folio of Geet-Govind where Krishna is
with eight Gopis.

Description-

In this painting blue limed Krishna has been shown singing and dancing with Gopis on the
bank of river Yamuna. There are eight gopis surrounded Krishna in different posture. The eyes
of Krishna and Gopis are like lotus petal stretching almost up to the ear. Gopis are well
decorated with multi coloured transparent dress. The faces of the Gopis are looks like similar
showing emotion of happiness through smiling and charming.

There is a high horizon in this painting, only a sky of about one inch width has been painted at
the top. The trees have been painted in a decorated and symbolic manner. The female figures
are ornamented and full of expression. Krishna is wearing a yellow colour dhoti and a long
garland on his neck. There is a red border surrounded the entire painting.

Collection- National Museum, New Delhi

NAND,YASHODA AND KRISHNA WITH KINSMEN GOING TO VRINDAVAN

Artist – Nainsukh

School - Pahari school

Sub school - Kangra

Medium- Watercolour on paper

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Technique – Tempera

Subject Matter – The painting

illustrates a scene from the
Bhagvata Purana and depicts
Nanda with his family and relatives,
travelling to Vrindavan. They found
Gokul infested with demons that
bothered Krishna to no end, and
hence, decided to move to a safer
place.

Description-

This painting is an episode from Bhagwat Puran. Nanda is seen leading the group on his bullock
cart and is followed by another bullock cart, wherein, both brothers, Krishna and Balaram and
their respective mothers, Yashoda and Rohini, are seated. This is a naturalistic style of painting
composed with lots of human figure along with cattles. Figures are smaller in size. Drawing
have linear in quality. The overall scene is more crowded. The Nand raja at the front on a
bullock cart and Krishna with Yashoda at the back on another bullock cart going to Vrindavan
is composed beautifully with other attendant figures.

Nanda is seen leading the group on his bullock cart and is followed by another bullock cart,
wherein, both brothers, Krishna and Balaram and their respective mothers, Yashoda and
Rohini, are seated. The influence of Mughal style effect can clearly visible in this painting,
featuring through the delicate lines, Precious drawings and bright colours. The use of rich and
cool blue and green colour is enriched the whole painting. The cows, bullocks and some of the
attendant figures are rendered with the influence of early Kangra style.

Collection- National Museum, New Delhi

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