Table of Contents
Introduction
The Indian subcontinent has been the birthplace of some of the most fascinating artistic traditions, comprising paintings, sculptures, architecture, textile- some of which are still prevalent to date. Stemming from the hills of Northern India is the Pahari school of Miniature Paintings, an umbrella term that refers to the many ateliers of miniature paintings that originated in the medieval hill states of the erstwhile Punjab hills. Primarily active between the 17th and 19th centuries CE, the sub schools under this tradition include Basohli, Kangra, Mandi, Mankot, Chamba, Guler and Nurpur, to name a few.
Thematically, the Pahari miniature traditions portray religious as well as secular themes. Religious themes include depictions of Vaishnava, Shaiva, Shakta, Tantric and local deities, as well as their episodes from various texts such as the Bhagavata Purana, Gita Govinda, and epics like the Ramayana and Mahabharata. Secular themes include representations of Ragamala, Baramasa, Ashtanayikas, Rasikapriya, Nayaka- Nayika, court scenes, animals and birds and royal portraits. These miniatures were made on a handmade paper sourced from Sialkot, in modern day Pakistan, called Sialkoti, which was made up of cotton and bamboo. Brushes were made using animal hair, with squirrel tail hair brushes being used to make thin precise strokes and paints being made using natural or mineral based pigments such as vermillion, zinc and indigo. Gold and silver foil called varakh was used for embellishments and jewellery.
Initially considered to be a sub group under the Rajput miniature tradition, the origins of the Pahari School of Miniature Painting are widely considered to have been traced back to the Basohli Miniature tradition, in modern day Jammu and Kashmir. Wedged between the creative colossuses of the Rajput miniature tradition and the Mughal miniature tradition, the Pahari miniature tradition shows the influences of the former two in its miniatures, but also upholds its distinct identity amongst them. Let us look at some of the sub schools of the Pahari tradition, their uniqueness and the contemporary artists who are upholding these traditions even today.
Ganesha in Kangra Miniature by Anshu Mohan
Sub schools of the Pahari Miniature Tradition
Although the different schools are collectively known as Pahari miniatures, each kingdom developed its own artistic identity, shaped by its rulers, local traditions, and interactions with neighbouring courts. Together they form a family of closely related yet visually distinct painting traditions.
Basohli Miniature Painting
The miniature tradition of Basohli originated from the town of the same name in the Kathua district of Jammu. Often considered to be the progenitor of the Pahari Miniature tradition, this artistic tradition combined folk traditions with Mughal techniques and Rajput vitality and is characterised by dark red borders, striking figures, bold facial features and the use of vibrant colours like blue, green, yellow and red. One of the central themes of this tradition is Vaishnavism, with special focus on Krishna, including the representation of devotional poetry like Rasamanjari and Gita Govinda and texts like the Ramayana and the Bhagavata Purana. The depiction of Tantric goddesses such as Durga and Bhadrakali, as well as secular topics like royal portraits, Ragamalas or musical modes and Baramasa or twelve months, also become common as the school evolves over the centuries.
Divine Encounters: Lord Krishna and Radha's Rasamanjari Romance Basohli Painting by Aastha Billowria & Shivakshi Sharma
Chamba Miniature Painting
Chamba, in modern day Himachal Pradesh, has the distinct honour of having not only a miniature painting tradition, but also a textile tradition that went hand in hand with the art. The earliest miniatures from Chamba date back to the mid-17th century CE and are characterised by fine lines, graceful figures, a vibrant colour palette of red, blue and yellow, and naturalistic scenery. Like the Basohli school, there is a focus on Vaishnava themes, texts and deities in the Chamba artistic tradition as well, along with a prevalence of Nayaka- Nayika romances, court scenes and royal portraits. This miniature tradition blends influences from the Rajputs, the Mughals, the neighbouring Pahari kingdoms as well as Gujarati traditions, owing to the ancestry of the artists settled in Chamba. The development of the Chamba Rumal textile tradition, translating the scenes in the miniatures into intricate needlework, was also popularised by the patrons and royals of the Chamba kingdom.
Jubilance of Lord Krishna: Chamba Rumal Painting by Anjali Vakil
Mandi Miniature Painting
Another sub school originating from Himachal Pradesh, the Mandi miniature tradition is known for its striking figures, bold lines, assertive outlines and a colour scheme consisting of dark and dull hues of colours such as blue, red, green and black. In the two centuries of its existence, between the 17th and 19th centuries CE, this artistic tradition shows gradual influence from the Mughals and the Rajputs. However, what sets Mandi apart is the themes it employs, including the depiction of Tantric and Shakta themes such as the Mahavidyas, Devi and her various forms, as well as local deities, which come to the forefront in this tradition. The prominence of Shakta and Tantric imagery reflects the region’s association with local goddesses’ and esoteric practices that flourished under royal patronage. Along with this, Vaishnava themes such as the depiction of scenes from the Bhagavata Purana and Gita Govinda, gods like Shiva and Ganesha, court scenes and portraiture are also common portrayals within the Mandi tradition.
The Churning of the Ocean of Milk
Source: The Metropolitan Museum of Art
Kangra Miniature Painting
Perhaps the best known amongst the Pahari sub schools, the Kangra miniature tradition, belonging to Himachal Pradesh, began in the late 17th century CE and reached its zenith under Raja Sansar Chand in the late 18th century. Considered to be the most lyrical amongst the Pahari schools, this miniature tradition is characterised by picturesque landscapes, intricate details, graceful and delicate figures and a colour palette made of soft hues of pink, blue, green, yellow and orange. Thematically, the tradition seems to focus on the Shringara Rasa, symbolising love in its various forms and stages. This rasa is emulated in the form of Nayaka- Nayika romances, especially focusing on Radha- Krishna, the Ashtanayikas, scenes from the Gita Govinda and Rasikapriya, as well as portrayals of Ragamala, Baramasa, court scenes and royals. Nature is not merely a backdrop in Kangra painting but an active emotional landscape that often mirrors the mood of the lovers.
Gopis in Kangra by Poonam Katoch
Guler Miniature Painting
Along with Basohli, Guler, belonging to Himachal Pradesh, is considered to be one of the earliest sub schools of the Pahari miniature tradition. Characterised by neat precise lines, elegant naturalism, delicate figures and a colour palette made of vibrant hues of blue, green, red and yellow. Considered to be a precursor to the Kangra style, owing to the similarities, the Guler miniature tradition initially focused on themes like court scenes, royal portraits and nobles. Later, the themes start focusing on translating Indian poetry and love stories into art, such as Nala Damayanti, Sassi Punnun, Heer Ranjha and Sohni Mahinwal. Vaishnava themes are also favoured including scenes from Vaishnava texts like the Bhagavata Purana and Gita Govinda. The paintings from Guler have an air of romanticism and are believed to have played an important role in the establishment of the Pahari miniature tradition, as it is seen today.
Attributed to Manaku of Guler
Source: The Metropolitan Museum of Art
Mankot Miniature Painting
The Mankot miniature tradition, hailing from Jammu and Kashmir, is one that shows heavy resemblance to its sister tradition of Basohli. Oftentimes considered an offshoot of the latter, the Mankot tradition is characterised by single colour background, strong central figures and a use of bold colours like yellow, green, blue and red. Thematically, this tradition covers a wide range of topics from depictions of religious texts like Bhagavata Purana and the Ramayana, deities like the Devi in her various form and the Dashavatar of Vishnu, court scenes, royal portraits and love stories such as Sassi Punnu, Bazbahadur and Rupmati. What makes the Mankot tradition different from its contemporaries is the focus on intense realism, which is further enhanced by the colours used and techniques employed.
Source: The Metropolitan Museum of Art
| School | Colour Palette | Main Themes | Distinctive Features |
| Basohli | Bold reds, yellows, greens | Rasamanjari, Krishna | Bold outlines, lotus eyes |
| Chamba | Bright reds, yellows, and blues | Vaishnava themes, court scenes | Dialogue between painting and embroidery (Chamba Rumal) |
| Mandi | Dark, earthy | Shakta, Tantric | Bold outlines |
| Kangra | Soft greens, pinks, blues | Radha-Krishna, Gita-Govinda | Lyrical landscapes |
| Guler | Vibrant blues, green, reds and yellows | Vaishnava themes,court scenes and love stories | Romanticism, elegant naturalism, neat lines |
| Mankot | Bold yellows, greens, blues and reds | Vaishnava themes, deities, royal portraits | Single colour backgrounds, strong figures |
Revival and Contemporary Artists
After its decline in the colonial period, most of the famous miniature paintings were taken to auction houses, collectors and museums outside India. However, local artists from the region have kept these miniature traditions alive and continue to practice these even today. The Ministry of Culture and state governments have organised exhibitions aimed at raising awareness about the miniature traditions of India, and efforts are also underway to obtain Geographical Indication (GI) tags for these artistic traditions, with Basohli and Kangra successfully obtaining the same.
However, it is the efforts by artisans, scholars and locals which have truly kept these traditions alive. Contemporary miniature artists such as National Awardee Anjali Vakil, who has joined her family in bringing the Chamba Rumal to the forefront; National Awardee and Kangra local Mukesh Kumar Dhiman whose formal education in the Kangra miniature tradition has led to the exhibition of his works in India and abroad and PhD scholar and artist Yashodha Raje Bundela who works with her team of artists to preserve the Pahari miniature traditions, are testament to the importance of these artistic traditions. These people are not only preserving the centuries old traditions, but are also focusing on contemporary miniature paintings, which are influenced by these traditions, to make them accessible and relevant to the newer generations.
Radha Krishna in Ashwin Mas, Kangra by Mukesh Kumar
