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Origin and Development the Pahari School of Miniature Painting Originated in Hill State of Basohli Situated on the Bank of the River Ravi About 1690 A.D

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Origin and Development the Pahari School of Miniature Painting Originated in Hill State of Basohli Situated on the Bank of the River Ravi About 1690 A.D Origin and Development The Pahari School of miniature painting originated in hill state of Basohli situated on the bank of the river Ravi about 1690 A.D. Later, Guler, Chamba, Mandi, Kangra, Garhwal and Kullu became its main centres. Besides these, Jammu, Srinagar, Nurpur, Mankot, Nalagarh (Hindoor) and the plains of Punjab became its sub-centres. Besides stylistic vividness, the Himalayan environment, round faces, half-moon- shaped forehead, normal sized deep eyes and normal statured men-women replete this world of miniature paintings and provide them Pahari speciality. The art of Pahari school has the following sub-schools of miniature paintings: 1. Basohli Sub-school of Miniature Painting. This style came into existence when Mughal emperor Aurangzeb had restricted all the forms of art in his court. In the middle of 17th century, the court painters/artists moved towards the hilly states. They implemented technical co-ordination ofvarious elements of the Mughal style into the art forms previously existed there. The new form of art that came into existence was called Sub- school of Basohli Miniature Painting. Although these artists were subservient to their patrons, yet they were fully independent in selecting the subject matter. In their new paintings, they included only the specific elements of the Mughal style. Topics of the Painting: The painters started making paintings on abstract themes of the literary volumes such as Ras-Manjari, the Ramayana, Geet Govinda and Raagmala. Characteristics: The paintings of this style are almost square in shape. Double storied or high-towered buildings have been shown in the background of these paintings. Hilly environment, river, waterfall, clouds, lotus and other flowers have been used as ornamental elements in the paintings. '20 Guler Sub-school of Miniature Painting. Guler is famous for both types of the paintings— individual and subjective. It wonderfully inaugurated the mysteriousness and the beauty of women. The emotional disposition of Guler's paintings is not seen even in paintings of the Mughal style. 35 Characteristics: Extraordinary tenderness in colours, extraordinary execution of work, wonderful thinness in underlining, emotional delineation and the perspective provide excellence to Guler's paintings. Fawns, cottony clouds and emotive nature are characteristics of Guler's paintings. 3. Kangra Sub-school of Miniature Painting. Miniature paintings of Kangra are glory of Pahari painting. In these paintings we can feel smell of the soil of that place. Tenderly engraved features of women are pleasing. Kangra style was on apex of its excellence in the reign of the king Sansar Chand. The pomp and show of the kinÉs court has been shown with the medium of thin lines and colours. The human portraits painted here are natural and beautiful. Topics of the Painting: Keshav Das' poetry 'Rasik Priya' has been the lovely topic of Kangra-style painters. Radha-Krishna have sometimes been painted as a lover- beloved and the other side as an actor-actress. The painters of this style have painted the lovestories of Sasi-Punno, Heer-Ranjha and Sohani-Mahiwal and others. Characteristics: Red, yellow and blue basic colours are placid and decorative. Delineation of beautiful margins, ornaments and buildings are praiseworthy. Balanced shape of trees and the panoramic, natural scenes, magnificence teeming with the leaves, flowers, shrubs and hills provide speciality for Kangra-styled paintings. 4. Chamba Sub-school of Miniature Painting. Inordinate bewitching, tender and unusual figures of women give distinct identity to miniature paintings of Chamba. The painters ofthis style have prominently showed red and blue colours with the co-ordination of artistry and technique. 5. Garhwal Sub-school of Miniature Painting. Garhwal style looks like Guler style. In the paintings painted here shows charmness of colours, clarity in expression and tenderness of beauty. Systematic paintings and too developed symbolic design is the speciality of Hindoor (Nalagarh) Art. 6. Mandi Sub-school of Miniature Painting. The paintings of Mandi are quite different from the other paintings painted in Pahari sub-schools, due to its stylistic and subjective speciality. The painting of various tantric forms of a goddesses is the speciality of Mandi miniature paintings. In these paintings, the painters have emphasised inordinate use Of dark black, red and blue colours to improve the dreadfulness of the mysterious form Of the goddesses. 36 History of Indian Study of the Miniature Paintings of Pahari School The following are the selected miniature paintings of this style: 1. Krishna with Gopis Name Krishna with Gopis Painter Manaku Sub-school: Basohli Medium Water colours on paper Technique Tempera Circa 1730 AD Collection National Museum, New Delhi DESCRIPTION This painting had been painted by Manaku, in 173() A.D. in Basohli style. In this painting, blue skinned Krishna has been shown singing and dancing with gopis on the bank of the river Yamuna. There are necklaces around his neck made of pearls. Down his loins he has worn a yellow-coloured dhoti. Five gopies, well-decorated with multi-coloured transparent seeming apparels, have been shown in many countenances, doing coquettishness with Krishna. The faces of all of them are similar, charming and with big eyes. Their eyebrows are curved like a bow, sufficient rounded foreheads and long charming noses are the characteristics of this Painting. In the left side, there is a gopi who is trying to make something known to other gopis, Whereas in the right side, Radha is standing with folding hands with her female attendant holding an umbrella in one of her hands. Her facial expression and costume are similar to those of other figures. In the background have been shown multi-coloured and multi-designed leaves of the trees. The middle part of the background has been shown in light scarlet colour which indicates the surface, This painting is a unique example of Basohli style of painting. The Pahari School of Miniature Painting 37 5. Nand, Yashoda and Krishna ',vith Kinsmen going to Vrindavana D Name Nand, Yashoda and Krishna with Kinsmen going to Vrindavana E Painter Nainsukh Sub-school: Kangra S Medium Water colours on paper Technique Tempera C Circa 1785-90 A.D. Collection National Museum, New Delhi R IPTION In this painting, the inhabitants of Gokul as well as Nand, Yashoda and Krishna have been shown going to Vrindavana. This miniature painting was painted by Nainsukh during the period 1785—90 A.D. Based on the episode of Bhagvat Purana and painted in Kangra style, this painting is tender, placid and bewitching. In this painting thirteen human figures have been shown. Three of them have been shown swimming in the Yamuna. Rest of the figures have been shown in various countenances and wearing clothes of different colours on the other side of the river. Krishna has been shown in blue colour, half naked but wearing different ornaments made Of gold, and a large wreath of flowers round his neck. There is a golden crown on his head. He is signalling with hand towards the golden buildings of Vrindavana peeping out through The Pahari School of Miniature Painting 41 the clouds; and the inhabitants of Vrindavana, Nand and Yashoda are looking that side surprisingly. All the persons are half naked except Nand and Yashoda. Another crowned person, who has put on blue-coloured costume is possibly Balram. He is raising one of his hands up singnalling towards Vrindavana. All the human figures have worn stripped clothes down the loins and their heads have also been covered with multi-coloured caps. On the left bank of the river, there is a bird sitting on a cut stem of a heavy tree. On the other stem has been shown a sitting bird. In the right side of the painting is a tree on which have been shown coiled round creepers. In the background, the sky has been shown surrounded with clouds. Through the clouds, the golden buildings of Vrindavana peeping out. The ground of the other side of the river has been shown filled with greenery. .
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