Pahari School Flashcards
Origin and Development of Pahari School of Miniature Painting
The painting style developed in the hill states of Punjab and Jammu around the tributaries of Indus River is called Pahari style of Miniature painting.
It is a hybrid and mixture of Gujarat style, Mughal paintings in the time of Aurangzeb’s time and Rajasthani style in first half f 17th century. Due to the prohibition of art during Aurangzeb’s rule in Mughal courts and the destruction of Mughal empire in the middle of the 18th century, artists from Mughal courts and courts of Hindu nobles found refuge in smaller hill states like Chamba, Nurpur, Basholi, Kulu etc. At this time there was an already existing indigenous style of art in these areas. The first know specimen from Basholi discovered in about 1650 was already stylistically matured. The Mughal and Rajput painters created the Pahari style in fusion with the local folk art. They tempered the primitivism of the Basholi with the softness Guler by adding finer drawing and mellower colours. Though the artists were under the patronage of the kings they were not forced to draw subject matter chosen by the kings. The freedom enjoyed by the artists and the wonderful natural beauty around them awakened their spirits and inspired them to leave behind the lifeless and insipid Mughal style and give expressions to their theme.
After the sacking of Delhi, some migrating artists brought to the hills realism and craftsmanship of the Mughal which helped in developing the Pahari style. The growth of the hill style accelerated from there and flowered as India’s last vital Hindu art form before the western civilization neutralized it.
Features of Basholi Paintings:
- In Basholi, strong and bright colours (like bright red, green and yellow) have been used.
- The figures have distinctive features like fish-shaped elongated eyes or lotus-like eyes, round chin, oval-shaped face, prominent nose, receding forehead and powerful body with pleasant plumpness which presents idealistic body symmetry and lends distinction to female figures.
- Clarity of design and a wonderful effect has been created with colour combinations like blue and yellow, red and blue and grey and brown.
- A shining bright fragment of beetle wings imitate the glamour of emerald in paintings and white thick droplets of paint have been used to give the effect of real pearls. Another important feature of Basholi paintings is the gargoyle-like ornamentation at the base of pavilions.
Krishna with Gopis
Artist: Manaku
Sub-school: Basholi
Medium: Watercolour in tempera
Description: This painting is based on Jaydev’s Geet Govinda. It portrays Krishna surrounded by gopis singing and dancing on the bank of river Yamuna. The composition is in typical Basholi style with geometrical pattern. Bold colours have been used to infuse vitality in the painting. Krishna is wearing a bright yellow dress with his upper body naked but ornamented. He has a crown on his head with jewels and peacock plumes on it. There is no use of perspective but the golden background has given sufficient depth to the painting. The clarity of the design and intensity of feeling has been brought about by use of colours like golden yellow and vermillion along with cooler colours like blue and green which enhance the beauty of the painting. The human figures in the painting have backward sloping foreheads, lotus-shaped large eyes and high noses almost in the line of the forehead. The shining emerald and iridescent beetle wings have been used to illustrate the ornaments. The women figures have rich costumes, stylised faces and bulging eyes which lend individuality to the painting. The whole group expresses a rhythmic dancing pattern. Small shrubs in the foreground provide a natural stage like setting to the painting.
Features of Kangra Paintings:
- In Rajput paintings, Kangra paintings have a special status because of its maturity, fine sense of beauty, artistic and poetic beauty and colour combination which is soft and mellow.
- The artists have synthesized different shades of primary colours and used delicate and fresher hues.
- A single character has been serially portrayed in different postures doing different activities to show the continuity of incidents of life.
- The female figures are drawn with soft, refined and rhythmic curved lines with a look of innocent sensuality. The flowers, trees, creepers, birds and animals drawn show the keen sense of observation of the artists.
Bharat Worshipping Charan Padukas of Ram
Artist: unknown
Sub-school: Guler
Medium: Watercolour on tempera
Description: The painting depicts one of the most emotional moments of Ramayan. Bharat goes to Chitrakut and entreats Ram to return to Ayodhya which Ram declines. When Bharat was unable to persuade Ram he prays to give him at least his Padukas and announces that he will rule the kingdom as Ram’s custodian until he returns.
The painting shows Bharat substituting Ram by his Charan Padukas which is on an ornamented pulpit supported by a yellow pillow. Bharat is worshipping the Padukas along with his courtiers and an attendant is standing behind the pulpit with a fringed umbrella. The place is enclosed by a rectangular tent under a dense tall tree and a square canopy has been set up above the pulpit. There are courtiers showing respect. Some of them are sitting while others are standing with swords of honour. Musicians are playing various musical instruments too.
In the background there are hills and daily rural activities are portrayed. On the right side, there is also a white palace on the top of a hill. The blue sky, trees and hills clearly show Mughal influence.
Cosmic Dance of Shiva
Artist: unknown
Sub-School: Guler
Medium: Watercolour in tempera
Description: In this painting, the artist portrays God of Gods Lord Shiva in a dance of primal creation of the universe. His floating and scattered brownish hair, serene eyes and the crescent embellished on his head show the magnificence of his appearance. He is wearing tiger skin and a snake is dangling from his neck in swinging motion. His awe inspiring dance is keenly observed by other deities.
In the left side of the painting, mother goddess Parvathi wearing a red ghagra and pink odhni is playing the dish bell. Ganesha is playing the veena and six headed Karthikeya is playing the kettle drum. Ox Nandi and others representing the human and animal world is enjoying the dance of Shiva.
On the right side, Banasura is playing the Tambourine Mridanga and other followers and devotees of Shiva are playing various instruments like clarinet, trumpet, drum, flute, cymbal etc.
The curved shaped background in the dark blue colour is suggesting of the universe, and is done in typical Basholi style.
Lord Shiva’s spiritly dance expresses the joy, passion, ease and energy of dancing which shows his involvement in the process of creation. He seems quite comfortable and completely satisfied with his dance.
Nand, Yashoda and Krishna with Kinsmen going to Vrindavan
Artist: Nainsukh
Sub-School: Kangra
Medium: Watercolour on tempera
Description: This masterpiece depicts an episode from Bhagvat Puran. Krishna along with his foster parents Nand, Yashoda, his brother Balram, relatives and villagers are migrating from Gokul to Vrindavan. They are standing on a grassy land at the bank of river Yamuna and three men have been shown swimming in the river.
In the center of the painting is Lord Krishna pointing his right hand to Vrindavan. The heavenly city of Vrindavan is shown peering through the grey and white masses of clouds. Balram standing next to Krishna has raised his left hand to the golden city. The others are also looking upward earnestly. Krishna is wearing a golden tiara with peacock plumes, and a pitambur (a long white garland around his neck) and his upper body is bare. Balram is also wearing a golden tiara, he is covered is blue dhoti and is semi clothed. The others are wearing striped shorts and their heads are covered in different coloured cloths.
In the right side of the painting there is a twisted tree with climbers on it. The foliage is presented with different patterns and different hues of green. In the left side there is a bird sitting on a dark drown gnarled tree trunk.
The river Yamuna in deep blue colour laced with white foam, the light blue sky, the masses of clouds and the beautiful landscape imparts an incredible aesthetic to the painting.
Radha and Krishna looking into a Mirror
Artist: unknown
Sub-school: Garhwal
Medium: Watercolour in tempera
Description: In this painting Radha and Krishna are sitting in the terrace on an orderly arranged floral decorated dais in the center of the painting. Krishna is holding a mirror in his right hand and they are both intently looking at each other’s reflection. There are two well-dressed female attendants in the foreground.
Krishna is wearing a golden tiara, a white flower garland, a yellow dhoti and is semi clothed. Radha is dressed in traditional red Ghaghra and choli. There are red pillows supporting their backs.
The interiors of the terrace are decorated in typical white and yellow colours. The stylised depiction of foliage of flowering plants, hilltops bathed in sun rays, lake with blooming lotuses and water birds add special charm to the painting. The posture of Radha and Krishna created a romantic atmosphere. The sky is painted in black and there are white and grey clouds painted in special circular pattern. Gold has been used lavishly.
There is a fountain in the middle of the foreground. The arch and interior of terrace show influence of Mughal style.
