Rajput paintings in the region of the Punjab
Hill states of North India, i.e. in the states
of Himachal Pradesh, Jammu & Kashmir and few
areas in erstwhile Pakistan are known as Pahari
paintings. Scholars have categorized Pahari paintings
on the basis of geography and family style.
On the basis of geography two categories can be identified.
One is the Basohli and Kulu style, and second is the
Guler and Kangra style. While the former group shows
influence of the Chaurpanchasika style and emphasizes
on the abstraction, bold lines, and conservative colors,
the latter underscores on cooler colors and refinement.
Parallel can be drawn between the developments of the
Pahari School and the Rajasthan School. However, there
are certain punctuated gaps in the development of Pahari
paintings, which the scholarly research is trying to
fill in. The family relationship of the Hill Rajas with
the royal court at Rajasthan had its marked influence
on the painting traditions, which evolved in the Hill
States. The influence of the Mughuls, Gujarat, and Deccan
were also conspicuous in the paintings.
The growing popularity of vernacular literature with
the emergence of Bhakti movement provided themes for
the Pahari Paintings. Erstwhile Shaiva- Shakta themes
in paintings were now accompanied by the vernacular
poetry and folk songs adoring Krishna and Rama. Katha-vachaka
(story teller) played a significant role in broadening
people’s understanding of the religious texts like
Puranans and Ramayana. They held discourses in temples,
market places and educated people on proper conduct
and purity of life. While, the poets and performers
from the plains visited hills and provided cultural
performances. Thus, the vibrant social and cultural
milieu provided endless themes to the painters.
Krishna with Gopis, Based on
Jaideva’s Gita Govinda, Basohli, Pahari,
dated A.D. 1730, Artist: Manaku
Unlike Rajasthani Paintings, which centered on portraitures,
and depiction of splendid court life, Pahari paintings
emphasized on love and devotional themes.
The royalty commissioned texts based on love themes
and stories of Krishna. Gita Govinda (the Divine Love
Song) and the tenth book of the Bhagavata Purana (the
stories of Krishna) provided evergreen themes. While
the Aranya Kanda, and the Lanka Kanda of Ramayana epic
were repeatedly illustrated.
One of the early notable works of art was Devi Mahatmya
manuscript, painted at Kangra in 1552. Besides this,
Rasamanjiri, a 15th century Sanskrit text, penned down
by Bhanudaata of Mithila in Bihar, was a significant
illustrated work. The heroes (nayakas) and heroines
(nayikas) and beauteous maidens of this rhetoric text
personified subtle ecstasies of romance.
Basohli Paintings
Basohli, situated on the bank of the Ravi River produced
magnificent series of manifestations of the supreme
goddess called Devi series. The Devi series was bold
in execution and iridescent beetles were used in the
illustrations as jewels. Another notable illustration
was the romantic text of Rasamanjari, painted by artist
Devidasa under the patronage of Raja Kirpal Pal (1678-95).
Basohli rulers also patronized portrait paintings.
Gita Govinda, dated 1730, painted, by Manaku, for a
patron Malini is believed to have a
Basohli origin.
The chief characteristics of the Basohli paintings
were geometrical patterns, and use of bold colors to
infuse vitality in the paintings. Besides the bold colors,
lustrous enamel like colors were also employed. The
decorative conventions and dramatic compositions where
the figures were shown clad in rich costumes, stylized
faces, and large bulging eyes lent unique individuality
to these paintings.
Bilaspur
Bilaspur, situated in Himachal Pradesh saw the rise
of the paintings in the mid 17th century. The earlier
paintings were portraitures that were succeeded by illustrations
of the Bhagavata Purana, Ramayana, and Ragamala series
in the 18th century. Besides these, painters at Bilaspur
also executed paintings on rumal (coverlets) for rituals
and ceremonies.
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