PAHARI

MINIATURE PAINTING
17 C AD to 19 C AD

Rashmi Rekha Pahadi

TGT, Art / Craft
DAV CSPUR BBSR
GEOGRAPHICAL SITUATION

• The Pahari region comprises of the present state of Himachal Pradesh,

some adjoining areas of Punjab, Jammu and Kashmir, some area of
Uttaranchal.
• The whole of this area was divided into small states and was ruled by
the Rajput princes.
• These states were centres of great artistic activity as many
artists of Rajasthan had settled in the Pahari region
due to fear of Mughals
• These states were also known as sub schools of Rajput school of Art.
ORIGINE AND DEVELPOMENT

Gujarat Local
manuscript folk Art

• Pahari painting is a
Rajasthan
creative combination of PAHARI
Art

European Mughal
Influences Art
ORIGINE AND DEVELPOMENT

The path of improvement started with indigenous love

of colour and animated figures in Basohli; to finer
drawing , delicate colouring and more charming figures
in Guler; to clear, simple and mundane treatment in
Jammu and finally to its pinnacle at Kangra and
Garhwal where lyricism, soft contours and graceful
forms of women celebrated the tenderness of love.
Beauty of the nature in these mountains inspired
the artists of these mountains and they both celebrate
the glory of the themes of love.
 ORIGINE AND DEVELPOMENT
• Art and artists flourished here freely and independently with the
encouraging patronage of rulers like Raja Sansar Chand
who would not impose any terms , in following any style
or a subject matter.
• As a result pure Hindu art- with both Shaivite and Vaishnavite
themes evolved here.
• Famous illustrative series are the Bhagavata, the Gita Govinda,
the Bihari Satasai, The Baramasa and the Ragamala.
• Fusion of literature and painting is the unique achievement of
this school.
ORIGINE AND
DEVELPOMENT
• The beauty of landscapes in tree, hills and lakes surrounded
with flowers enhanced the beauty of its nayikas in nayika
bheda be it union ,anticipation , separation or regret.

• The spiritual love of God and soul in personification

of Radha and Krishna is unparalleled.

• The Pahari School of Miniature Paintings consists of the

works of a large number of talented artists who contributed
to develop this unique style of painting. It was the outcome
of family tradition and the centuries of hard work.
SUB SCHOOLS OF PAHARI SCHOOL OF PAINTING

1. Basohli school of art

2. Guler school of art
3. Kangra school of art
4. Kulu Mandi school of art
5. Garhwal school of art
6. Chamba school of art
BASOHLI SCHOOL OF ART
• Basohli is earlier centre of painting in the Pahari region
• Under patronage of Raja Kripal Pal
• First series ‘Rasamanjari’in 1694 C. AD. executed by
an artist named Devidasa.
• Vigorous and bold line and glowing contrasting colour and monochrome
background is the main characteristics of this school.
• Primary colour used.
• Outstanding illustrated miniature painting is ‘Mugdha Nayika’ the 43rd folio
of Rasamanjari series.
• The use of dark green Beetle wings to indicate jewels in the ornament is the
peculiarity of this school.
• The sky is shown as a narrow band of blue and white at the top.
• The paintings framed in a border of red brilliant colour.
• The most beautiful painting from this school is ‘Krishna with gopies’ done by
Manaku with more developed technique in 1730 [Link].
GULER SCHOOL OF ART
• Guler is the place of origin of Pahari Miniatures,
later on Kangra and other places of hill areas joined to
develop the style which was completely different from Basohli schools.
• Paintings from this school are in a naturalistic and delicate style.
• The colours used are soft ,cool and harmonious.
• Many portraits of Raja Balwant Singh and Raja Goverdhan Chand were drawn
delicately in 1740 [Link]. Inspired by naturalistic style of Mughal painting of the
Muhammad Shah period.
• Famous series are the Bhagawata Gita, the Bihari Satsai, the Barahmasa and the
Ragamala, painted in 1760 – 70 C. AD.
• Famous artist was Naisukh
 KANGRA
1. SCHOOL
By the mid eighteenth century the Kangra artists developed a
new style wherein the source of inspiration was the Vaishnavite
traditions.
2. The Kangra style developed out of Guler style.
3. Soft colours including cool blues and greens, and a lyrical
treatment of themes distinguished Kangra painting.
4. Raja Sansar Chand was the great art patron and his period
considered to be the Golden period of Kangra art.
5. The Kangra style continued to flourished at other centres of art
like
Basohli, Chamba, Jammu ,Garhwal.
7. The painting border are red.
8. Natrualistic treatment.
9. Gold colour has been used lavishly.
[Link] of indentical portrait of Raja Sansar Chand and his
Garhwal school

1. Garhwal style has close similar to Kangra style which

itself is an offshoots of Guler.
2. The painting depicts the scenic beauty of local rivers
and hills.
3. Famous artist Chaitu & Moula Ram.
4. Nayak-Nayika bheda widely painted
5. Geet Govind, Krishna Sudama story, Ramayana
and Mahabharat is the popular subject.
KULU - MANDI
• Mainly folk style of painting and inspired by the local tradition.
• Bold drawing and use of dark and dull colours.
• Though influences of Kangra style observed in certain cases
yet the styles maintains its distinct folkish character.
• A large of portraits of the Kulu and Mandi ruler and miniatures
are mostly in this style.
• Famous painting- Krishna lifting the Govardhan mountain, Two
girls flying kites
 CHAMBA

• Basohli painting took root in Chamba with artists migrating here in

the 18th C.
• Patrons are Raja Udai Singh, Raja Raj Singh, Raja Umed Singh
• Portraits and the Hindu legend took priority.
• During the reign of Raja Charchut Sing, art reaches the masses
and folk influences increased.
• The paintings were generally painted with Hindu religious theme like-
Radha – Krishna, Shiv- Parvati, Yashoda and Krishna, Krishna – Sudama etc.
• Main painters are Nikku, Durga and Lehru.
 CHARACTERISTICS OF PAHARI PAINTING
1. Diverse subject matter: Religious, romantic, general
2. Linear Beauty: One of the main features of Kangra painting is the linear beauty.
Rhythm and smoothness have been added to the figures through fine lines by
means of squirrel hair brushes. The Ajanta like expression of emotions and finest
lines that have been used in the drawing of eyes are praise worthy.
3. Depiction of Nature: Tree, clouds, water, jungles, etc. have been depicted all full of
charm in Pahari School. The depiction of landscape consists of mountains, beautiful
flowering trees, rivers and tanks with lotus flowers and aquatic birds. In the sky,
rainy season, clouds lightening and rain etc. have been nicely painted. Creeper
symbolizes union and hills capes add to the beauty and [Link] sitting
around fire during winter and people playing Holi in summer signify seasons.
4. Female Figures: The faces of women in profile have the nose almost in line with
the forehead , the eyes are long and narrow and the chin is [Link] traditional
idea of of the ideal womanhood is maintained with clothes and ornaments carefully
complementing them.
4. Romantic Scenes: Lots of romantic scenes are found in Basohli
painting and Kangra painting. Due to social and moral restriction
prevalent in Rajput families wherevthe expression of love is
concealed., love in painting is freely expressed be it union, separation
or [Link] in the company of Gopis is in a grove of the bank
of a river.
5. Garments: Choli, Lehanga and transparent Chunnis were
generally worn by the woman . The male have been shown wearing
Angrakha, Pajama and Turban. The Krishna has always been shown
wearing Pitambar (yellow garments).
6. Perspective and colours: Mostly bright Primary colors, red, blue and
yellow have been used. Some mixed colors like pink, green, and grey
have also been beautifully used, the perspective has not been given
much weightage but even then it does not look improper.
7. Use of Golden and Silver color: The color scheme is brilliant and
golden color has been used lavishly. The sky has been painted as a
narrow band of blue and white at the top. The colours are strong and
contrasting. The use of gold and silver color is in the design of garments
and ornaments. The lightening has also beautifully shown through silver
color.

8. Use of Borders : In some Pahari paintings, we find ornamental borders

of Mughal style. The red borders are worth noticing in these
miniatures.

9. Paintings are Based on Folk Art: The paintings of Basohli (Pahari) are
not classical but folk in nature. The Nature has been painted in
ornamental style. Most symmetric ornamentation has been done which
makes it look Folk.
Main Features of Pahari School
1. The natural beauty and pleasant weather of this area added further
charm to these paintings.
2. Colours and lines have got different characteristics in Pahari School.
3. Vaishnav Cult, Bhakti movement took main place for subject matter.
4. In 17th century, Kangra art developed up to its climax. Haripur
remained the centre of arts for long time.
5. We see little difference in colour scheme woman figures, love scenes,
religious themes, Ragamala etc. among Pahari paintings.
6. Generally, the artists of Pahari school have not written their names on
the paintings. Effects of Mughal and Rajasthan Schools on Pahari style
are visible up to mid 17th century. Later on it has been changed to its
own style.
7. Mainly the hill areas of Punjab, Himanchal and Jammu &
Kashmir known as Pahari School. Guler was the main place of
origin of Pahari paintings. Still we find the style of Pahari paintings
have some similarities among themselves. Styles and their colour
scheme of paintings as well as human figures are somewhat
interrelated to each other.

8. Nayika Bheda- These paintings depict the love sentiment and

their movement towards love affairs.

9. Romantic scene, Depiction of nature, Ragamala painting,

female figures, portraits and garments are quite different from
other styles. Transparent dresses with complete Indian tradition
style were the main attraction of those paintings.
10. Perspective and colour scheme have unique style in these
Pahari paintings, linear beauty, use of boarder designs, almost all
same in these Pahari school of paintings.

11. Symbolic depiction with ornamentation in the trees, nature is

remained natural. Above style of paintings and characters make
this school different from others.

[Link] gesture : Long tapering fingers, delicate hands and

ornamented arms are used by artists to convey the expressions and
emotions which drew inspiration from the prevalent heritage of
classical dances, this feature is seen in all Indian art forms starting
from Ajanta.
[Link] : The nature has been painted in ornamental style.
Symmetric ornamentation of trees has a folk inluences.

14. Colours : Mostly primary colours, some mixed colours like pink,
mouve, green, grey have been used beautifully used.
They are also symbolic, red and yellow for love and passion,
blue for Krishna and bluish clouds for final culmination of love.

[Link] : Faces are full of life, emotions and moods are

clearly depicted.
 Paintings of Pahari School

[Link]. Title Artist Period School Medium Courtesy

1. Krishna with Gopis Manaku 1730 A.D. Basohli Water colour The National
[Tempera] on museum,
paper [Link]
2. Nand, Yashoda and Nainsukh 1785-90 [Link]. Kangra do do
Krishna with Kinsmen
going to Vrindavana
Title - Krishna with Gopies
Artist – Manaku
Period – 1730 A.D
School – Basohli
Medium – Water colour on paper
Technique –Tempera
Size – 20.5 / 37 cm
Courtesy – The National museum
[Link]
Series - Gita Govinda
 Subject matter
• This is a horizontal painting
• It is an illustration from the Gita Govinda series by Jayadeva.
• Tales of Radha and Krishna symbolizing soul’s devotion to God. The sentiment of
love and devotion as an inspiration and the central theme of this painting.
Description
• The painting presents Krishna surrounded by gopies singing and
dancing on the bank of river Yamuna.
• Eight Gopies are shown adoring Krishna. Five gopies have been shown
around Krishna who is in the centre of the painting. They are adoring Krishna
and is embracing two of the gopies. One Gopi is on the right side of the painting
with folded hands (seems to be Radha) with an attendant holding a round fan over
Radha’s head. Two gopies on the left side are talking to each other
(one at the left end is holding chauri).
• Blue skinned Krishna is in the centre wearing yellow lion cloth
and also wearing a crown with jewels and peacock plumes.
• All Gopies are identical and are decked with beautiful ornaments.
• Green beetle wing case is studded in all of them and pearl strings are
highlighted.
• Every figures clad in rich costumes of bright colours.
• Stylized faces having large bulging lotus shaped eyes
• Pointed nose in the same contour of the forhead line.
• Bodies are short which shows impact of folk style.
• Colours are bright and bold with lustrous enamel like quality.
• A small stretch of Yamuna river in the foreground
• A few small trees of same height with different shapes of leaves are
shown at the right.
• The horizon line is beyond the head of the tallest figure of Krishna on
which tree are painted in same size and in stylized manner.
• Beauty of the nature complements the devotion of the Gopies.
• The vibrant orange background lends an extraordinary luminosity to
this painting.
 • The horizon line is beyond the
head of the tallest figure of
Krishna on which tree are
painted in same size and in
stylized manner.

Blue skinned Krishna is in the

centre wearing yellow lion cloth
and also wearing a crown with
jewels and peacock plumes.
• The vibrant orange
background lends an
extraordinary luminosity to
this painting.
A small stretch of
Yamuna river in the
foreground
One Gopi is on the right side of the painting A few small trees of same
Green beetle wing case is with folded hands (seems to be Radha) with an height with different shapes of
studded in all of them and attendant holding a round fan over leaves are shown at the right.
pearl strings are highlighted. Radha’s head.
Title - Nand Yashoda and Krishna with Kinsmen
going to Virindavana
Artist – Nainsukh
Period – 1785 – 90 A.D
School - Kangra
Medium – Water colour on paper
Technique –Tempera
Size - 35.5 / 27.5 cm
Courtesy – The National museum
[Link]
Series - Bhagawat Purana
SUBJECT MATTER
This is a scene from Bhagwat Purana where Nanda, Yashoda and Krishna with \
Kinsmen migrating from Gokul to Vrindavana.
DESCRIPTION
• This painting depicts a group of people with their cattle and other belongings journeying
To Vrindavana.
• Nanda is seated on a Bullock cart with dome shaped canopy drawn by two bulls
and driven by cowheard.
• On the right side , a cart is carrying baby Krishna. Others accompanying Krishna
possibly Balaram, Yashoda, Rohini .
• Men and women are carrying their belongings in the baskets and tied cloth bundles
either on the head and shoulders.
• The ghagras of the walking women have characteristic horizontal strips.
• The landscape in the background shows a line of trees having intricate details of leaves
and trunks carved along the path with two rocks in a groove and birds sitting on them.
• Each face is a careful study of portraiture wherein most of the
faces in Ek-chasma. Some are in Dedh- Chasma also.
• Cows are realistically depicted with different skin colour
and other anatomical details.

COLOUR SCHEME

• The line defining contours are thin and delicate

• The painting has a very subtle appeal due to its colours.
they are neither too bright nor too gaudy but still very lively.
• The sky blue river behind the line of trees, light ochre of the
ground and the cattle are in earthy colour where as
the figures are painted in brighter colours.
 The landscape in the background shows
a line of trees having intricate details of
leaves and trunks carved along the path
with two rocks in a groove and birds
sitting on them.
Each face is a careful study of
portraiture wherein most of the
faces in Ek-chasma. Some are in
Dedh- Chasma also.
Nanda is seated on a Bullock
cart with dome shaped canopy
drawn by two bulls
and driven by cowheard.
The ghagras of the walking
women have characteristic
horizontal strips.
This painting depicts a group of people with
their cattle and other belongings journeying
Cows are realistically to Vrindavana. Men and women are On the right side , a cart is carrying baby
depicted with carrying their belongings in the baskets and Krishna. Others accompanying Krishna
different skin colour tied cloth bundles either on the head and possibly Balaram, Yashoda, Rohini .
and other anatomical shoulders.
details.
CONCLUSION
Pahari painting known for their serenity, lyricism, spontaneity,
natural symbolism, minute details, super sense of composition and
Deep sense of expressing human expression
It is a unique fusion of art and literature.