The Pahari school of Miniature paintings originated in the hill states of Himachal Pradesh and Jammu. It encompassed the various hill kingdoms of Basohli, Chamba, Kangra, Kullu, Mandi, Mankot and Jammu. Originating in the 17th century up until the 19th century, the Pahari miniature painting tradition exhibits unique characteristics in the portrayal of nature, figures, and architecture. Despite individualistic attributes, the Pahari school did not evolve independently, each school bore influences from one another.
The emergence of the Pahari miniatures can be associated with the close relations of the hill kingdoms with the kingdoms of Rajasthan and the Mughal empire. Folk stories along with the mythological and historical narratives influenced the thematic elements of Pahari school, depicting the tales of love and valour. The Basohli style is considered a precursor to the Pahari school, whose simplicity laid the foundations for the lyrical paintings of the Kangra school.
The origins of the Pahari miniatures lay in the kingdoms of Basohli during the reign of Sangram Pal (1635-1673) and later Kirpal Pal (1678-1693), guided by the artistic prowess of Devidasa, and later, Manaku. . This period marked the birth of a distinctive and magnificent style that carved a unique niche for itself in the realm of Indian arts. One of the earliest examples of this school is the Rasamanjari illustration by Devidasa in 1694 CE. The early Basohli paintings bore a resemblance to the Chaurpanchasika style of western India, setting the stage for the evolution of a vibrant Pahari style of miniatures.
The refinement of the Basohli miniatures is evident in the Gita Govinda series by Manaku in 1730 CE. At the same time, Mughal influences began to weave into the artistic fabric, as evident in the shift towards lower horizons, softer colour palettes, reduced ornamentation, and a more realistic portrayal of human figures and architecture. These elements collectively forged a unique identity of the Basohli school.
Divine Rendezvous: Basohli's Enchanting Landscape Basohli Painting by Aastha Billowria & Shivakshi Sharma
The paintings were made on Sialkoti paper, a handmade paper prepared using cotton and bamboo amongst other materials. Once complete, the paintings were burnished with soft river stone, locally called golla, akin to the Rajasthani miniatures that use Agate.
The hallmark of the Basohli paintings lies in its vibrant and bold use of primary colours such as deep ochres, blues and greens, and warm yellows - enveloping the background and horizon. Stylised depiction of the vegetation, embossed white for jewellery and Mughal-inspired shading contribute to the unique visual aesthetic of the Basohli paintings. The architecture, or the trees, were often depicted in the middle ground or the foreground. The high horizon and flat background, devoid of depth, mark a departure from conventional artistic traditions. The incorporation of the Takri inscriptions adds a linguistic dimension to the artistic narrative.
Divine Ecstasy: Lord Krishna in Basohli Splendor Basohli Painting by Aastha Billowria & Shivakshi Sharma
The popular themes in Basohli paintings are Rasamanjari, Bhagavata Purana, and Ragamala. Portraits, court scenes and depictions of daily life also found expression in this school. Another favourite of the Basohli artists is the Ramayana. The Basohli tradition transcended its geographical boundaries, and influenced the artistic styles of other hill states of Kullu, Chamba and Kangra. The paintings were replete with the depiction of flora, with a particular emphasis on the bright red flowers you can see in the region even today - rhododendron.
A distinctive feature of the Basohli school is the use of small, shiny, green particles from beetle wings, creating the illusion of emeralds - a technique that adds an unparalleled luminescence to the paintings.
Lotus of Love: Enchanted Embrace Basohli Painting by Aastha Billowria & Shivakshi Sharma
The Basohli paintings exhibit a unique portrayal of royalty, with disproportionate depictions emphasising their importance in the paintings. The distinctive features of heavier, profiled faces, and disproportionately large royals set against the architectural structures are characteristic of the Basohli paintings.
Females, in contrast, are depicted as tall, full-bodied and demanding, challenging the traditional docility expected of women. High, receding foreheads, and large, dominating fish or almond-shaped eyes define their visage. Females can be categorised and distinguished into three types according to their attires.
Harmony of Wonders: Serenade of Nature Basohli Painting by Aastha Billowria & Shivakshi Sharma
Basohli is the first and the most dramatic of the Pahari schools of miniatures, which eventually led to the development of painting styles at the other hill states.
