Pahari Painting: Artistic Splendor in the Himalayan Foothills

Pahari translates to ‘hilly or mountainous’ in origin. Pahari paintings originated in towns located in the western Himalayas between the 17th and 19th centuries.

Diverse Origins: Centers of Pahari Painting

• Key centers include Basohli, Guler, Kangra, Kullu, Chamba, Mankot, Nurpur, Mandi, Bilaspur, Jammu, and others. 

Artistic Progression: Evolution of Pahari Painting Styles

• Began in Basohli with a vibrant, flamboyant style.
• Evolved into the sophisticated Kangra School via the Guler or pre-Kangra phase.

Pahari Painting: Challenges in Classification

• Unlike Mughal, Deccani, and Rajasthani schools, Pahari paintings pose challenges to territorial categorization.
• While individual centers exhibited specific artistic features, they did not evolve into independent schools with unique styles.
• Dated materials and inscriptions are scarce, hindering precise categorization.

Pahari Painting: Influences and Emergence

• Uncertain Origins and Theories: Uncertain origins exist, though theories suggest influences from Mughal and Rajasthani painting styles.
• Basohli Style: It is considered the earliest prevalent pictorial language.
• Evolution Driven by Pandit Seu’s Artistic Family: B. N. Goswamy’s research suggests that the Pahari style evolved from the simplicity of Basohli to the poetic lyricism of Kangra, driven mainly by the artistic family of Pandit Seu (Shiv).
• Fluidity in Style Bearers: Goswamy argues for considering families as style bearers rather than regions, given the fluid political boundaries.
• Mid-18th Century Transition: By the mid-18th century, the style had transitioned through the pre-Kangra phase to mature into the Kangra style.
  • This transformation is attributed to the influx of new painting styles, possibly introduced by rulers, traders, or artists.

Pahari Painting: Stylistic Features

• Compositions: These are often showcased from a relative viewpoint.
• Themes: It portrayed the daily lives of kings, introduced a new prototype for the female form, and created an idealised face.
• The evolution: It  led to the mature Kangra phase, characterised by its refined naturalism.

Basohli School: Cultivating Splendid Styles in Pahari Painting

• Pahari Paintings: It  is an art form from the hill states, most prominently recognised in Basohli.
• Kirpal Pal:  The prince who ruled from 1678 to 1695, cultivated a unique and splendid style in Basohli.

Features 

• Primary Colour: Strong use of primary colours, particularly warm yellows also stylized representation of vegetation.
  • Use of raised white paint for pearls in ornaments Unique use of shiny green particles from beetle wings to mimic emeralds in jewellery.
  • Elegance and vibrant palette are reminiscent of the Chaurpanchashika paintings of Western India.

Popular Themes and Artists

• Themes: The most cherished theme was “Rasamanjari” by Bhanu Datta.In 1694-95, a series was created by Devida, a tarkhan, for his patron, Kirpal Pal.
  • Other themes included Bhagvata Purana and Ragamala. Portraits of kings, their consorts, courtiers, and other significant figures were also popular.
• Expansion: The style expanded to other hill states like Chamba and Kullu, leading to local variations.

Evolution and Expansion

• From the 1690s to 1730s, a new style emerged known as the Guler–Kangra phase.
• New life: This phase was marked by experimentation, which eventually led to the formation of the Kangra style.
• Expansion: Originating in Basohli, the art form spread to Mankot, Nurpur, Kullu, Mandi, Bilaspur, Chamba, Guler, and Kangra.

Influence of the Ramayana

• Favourite Text for Hill Artists: The Sanskrit epic, Ramayana, was a favourite text for hill artists in Basohli and Kullu. 
• Shangri Paintings: A specific set of paintings, named after ‘Shangri’, a place associated with the Kullu royal family, showcased the influence of Basohli and Bilaspur styles.
• Diverse Themes: Paintings depict scenes like Rama’s exile, his acts of charity, and the emotional turmoil of the characters.
  • Another painting illustrates Rama and Lakshmana journey with Sage Vishvamitra, where the depiction of animals adds depth and intrigue to the narrative.

Guler School: Pioneering the Guler–Kangra Phase in Pahari Painting

• Guler School represents a significant shift from the Basohli style, marking the beginning of the Guler–Kangra phase in Pahari painting.

Historical Context

• The transformation began in the early 18th century in Guler, under the patronage of Raja Govardhan Chand (1744–1773).
• Guler had a longstanding painting tradition, with evidence suggesting artists worked there during the reigns of Dalip Singh (1695–1743) and his son Bishan Singh, predating the Guler–Kangra phase.

Prominent Artists and Their Contributions

• The artist Pandit Seu and his sons, Manak (or Manaku) and Nainsukh, played pivotal roles in this transformation around 1730–40.
• Manak’s Notable Work: A set of Gita Govinda painted in 1730, that retained certain Basohli-style elements
• Nainsukh’s Distinction: Renowned for his unique portraiture, especially of his patron, Balwant Singh of Jasrota.
  • His works captured Balwant Singh in various activities, showcasing a detailed visual record. 
  • His palette was marked by delicate pastel shades and bold expanses of white or grey.

Artistic Evolution

• This new style was more refined, elegant, and subdued compared to the bold vitality of Basohli.
• By the 1780s, the matured version of this style transitioned into the Kangra School, though Basohli’s influence persisted in places like Chamba and Kullu.

Patrons and Their Influence

• Manaku painted numerous portraits of his enthusiastic patron, Raja Govardhan Chand, and his family.
• Raja Prakash Chand, Govardhan Chand’s successor, was also an art enthusiast. He had the sons of Manak and Nainsukh, namely Khushala, Fattu, and Gaudhu, as artists in his court.