Pahari miniature paintings, originating in the hill states of HImachal Pradesh and Jammu, form a distinctive school of art. It encompasses various kingdoms such as Basohli, Chamba, Kangra, Kullu, Mandi, Mankot and Jammu. Originating in the 17th 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, and each school bore influences from one another.
The emergence of Pahari miniatures can be associated with the close relations of the hill kingdoms to the kingdoms of Rajasthan and the Mughal empire. The lyrical Kangra paintings are a successor to the Basohli style of Pahari miniatures.
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 used Agate.
Women in Kangra by Poonam Katoch
The Kangra school of miniature paintings experienced significant growth during the reign of Sansar Chand, a period marked by the flourishing arts and cultural patronage.These paintings developed between the late 17th century and mid-18th century. The origins of this school are tied to the financial crisis faced by the court of Guler, prompting the migration of the court artist Manaku to serve under Raja Sansar Chand. The three main centres of Kangra paintings are Guler, Nurpur and Tira-Sujanpur. All three phases, situated on the banks of the river Beas, bear the imprints of the landscape in many paintings. Anuruddha Chand, Sansar Chand’s successor, continued the legacy of artistic patronage, further enriching the Kangra school.
Renowned painters such as Fattu, Khushala and Purkhu,, along with the descendants of Manaku and Nainsukh have contributed significantly to the Kangra style. The influence of the Kangra elements extended beyond the region, reaching as far as Kashmir and shaping the painting styles in those areas.
Draupadi and Krishna: Kangra Painting by Mukesh Kumar Dhiman
The Kangra school stands out as the most lyrical and poetic among Pahari miniature styles, characterised by the picturesque landscapes and intricate execution. Multiple shades of green portray the lush vegetation, while delicate lines, minute details and a bright colour palette define the school’s distinct features. These paintings exhibit a clear sense of distance and depth, employing hazy atmospheric effects to depict distinct landscapes. Light pink hues on the upper hills were used to depict distance. Most of the paintings also feature a silvery-grey river with a brook. The paintings are endowed with inscriptions in Nagari characters and mostly represent texts of well-known Hindi poets, especially Kesava Das.
The Kangra school finds its narrative richness in various themes such as the Bhagavata Purana, Gita Govinda, Ragamala, Satsai and Baramasa. Beyond these, court scenes and portraits of kings were also painted by the artists. An intriguing theme is the depiction of Ashtanayika – the eight heroines, including Utkanthika, Swandhinpatika, Vasaksajja, Khandita, Proshitpatika, Vipralabdha, Abhisandhita, and Abhisarika – adds layers of cultural depth to the Kangra miniature paintings.
Click here to read more about the Ashtanayikas
Radha Krishna: Kangra Painting by Mukesh Kumar Dhiman
The females are depicted in a slender manner. They have well-modelled faces with delicately carved features. One of the most prominent features is that the women are depicted with a slightly upturned nose, in line with the forehead, long and narrow doe-like eyes, and sharp chins. Their faces reflect a combination of wisdom and innocence. They often wear the characteristic Jugli, a gown fastened at neck and waist, with opening between them, allowing glimpses of the breasts and waists.
The Kangra Kalam (Kangra school) is a feminine art, an art of sentiment and lyrical love.
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