The Pahari
School of Miniature Paintings:-
Although the
term “Rajput Painting” has been used to refer solely to the art of Rajasthan,
important and quite distinct artistic developments also place among the small
Hindu kingdoms of the Punjab Hills. This long, narrow region of the Himalayan
foothills was split up, like Rajasthan, into many independent states dotting the
rich valleys of Chenab. The Ravi, the Vyas, the Sutlej and the Yamuna. Most of
these states such as Basholi, Chamba, Guler, Jammu, Nurpur, Kulu, Gharwal,
kangra and a couple of the others were situated humid snow-cloud mountains and
exquisite woodland scenery. Their rulers were hereditary Rajput families,
related among themselves by marriage or other family ties.
The painting
of the hill states, described by the generic name of Pahari art, was not a
sudden development, nor unrelated to the human to the life of the people, It
was deeply rooted in the feelings and experiences of the human heart and
saturated with the hill man’s poetry, music and religious beliefs. Love is the
inspiration and the main preoccupation of the Pahari School, whether the miniature
portray the boyhood pranks of Krishna and his cowherd companions or his amours
with Radha, the peagent of the seasons or the modes of music, the priciple theme
is always provided by the lone of man for woman or the woman for man,
symbolized by Krishna and Radha in the relation of lover and beloved.In its
first phase , this kind of painting developed in the state of Basohli.
Basohli – The Basohli style as found in the
reign of Raja Kripal Singh (1678-1694
A.D) appears totally evolved with a strong individual flavour which
could have been the assertion of the folk art tradition in conjunction with the
mughal technique. In the early 18th century, ateliers grew up, all
practicing the Basohli style and introducing local elements in its extensive
sets, each comprising more than a hundred miniature were prepared of the
Rasamanjari, the “Bhagavata Purana, the Gita-Govinda”, “the Barahmasa” and
“Ragamala” themes. The Basohli style with its primitive vigor and fierce
vitality, bold lines and brilliant hot colours, continued to be the norm till
about 1740 when changing political condition in northern India vitally affected
the art of miniature painting in the Punjab Hills. With the invasion of India
by nadir shah, the apathy of Mughal emperor muhammad shah, and the surrender of
the Punjab Governor in 1750 to the Afganistan king ahmad shah abdai, the
situation in the northern plains was in chaos. A mass movement bagan of
traders, merchants and artists who sought the comparative security of the Hill
state. The new arrivals mingled with the local artists and the refinement born
out of their combined talent left its own mark on the work of the hill artists
who gradually abandoned the “Savage intensity” of the Basohli School. Two
states- Guler and Jammu- appear to have been the important centers of the new
school of painting, and the work produced in the changed important centres of
the new school of painting and the work
produced in the changed style belong to what is known as the middle period of
Pahari art.
Features of
the Basohli Painting:
1.
In
Basohli, use of strong brilliant colours reinforces (bright red, yellow, green,
etc) its spirited approach to the subject matter.
2.
Figures
with distinctive features such as fish shaped elongated eyes or large
expressive lotus shaped eyes, round chins, prominent noses, oval faces ,
receding foreheads, powerful body with a pleasant plumpness present an
idealistic body symmetry and lend distinctive to female figure.
3.
Clarity
of designs and wonderful effect is created by the mixture of blue and yellow,
red and blue, grey and brown coloue which enhances the beauty of painting. The
shining bright fragment of beetle wings imitating emerald in jewellery and
droplets of thick white paint giving the effect of real pearls are Basohli
trademark.
Kangra – This school of arts developed in the
reign of king Sansaechand of Kanchot dynasty. This was a romantic style. This
style includes the superiority of Mythological the beauty and pictures of
Hero-Heroines of “Reitikal” , ( the literary period). Interest towards the
beauty of woman, snow-clad mountains and exquisite woodland scenery were
pictorised, Cave paintings of this style remained safe in “KANKHAL”. The
paintings of Kangra exhibit the fine , workmanship of Mughal miniatures; their
tones are subdued and the lines are exquisitely fine and melodioud, especially
in the female figures illustrating the delicate graces of Indian Workmans hood.
An offshot of this school was the Sikhs School which flourished under Ranjit
Singh of Punjab in the 19th century.
Features the
Kangra Painting:-
1.
Among all Rajput paintings, the paintings of
Kangra have a status of their own beacaus, of their maturity, fine sense of
beauty, artistic and poetic sensibility, rhythmic lines and colour combination
which is soft and mellow
2.
Only
in Kangra, the artists synthesized different
shades of primary colours amd used delicate and freshers hues.
3.
A
single character has been serially portrayed in different postures engaged in
different activities to convey the community of incident of life.
4.
The
female representing an ideal of beauty is depicted with soft, refined and
rhythmic curved lines with a look of innocent sensuality. The depiction of
flowers and plants, creepers and treads, birds and animals- reveals the power
of keen observation of the artists.
Guler – The new style at was largely the work
of a single family of influential artists who many have originatd in Jammu and
Kashmir and settled in Guler. Pandit Seu’s son Nainsukh stands out as the best
known and most innovative artists of the Guler school. A number of miniatures
devoted to the Krishna legend are associated with the Guler portraits and they
are painted in the finest quality of the style of the middle period.
Chamba – Chamba is known for its typical and
distinctive female figures endowed with the most charming looks. Red and blue
dominate a chamba miniature chamba is outstanding in its technique of
artistically mixing colours and amplifying their visual impact.
Garhwal – In subordinate Pahari art styles.
Gaehwal miniature are known for the same softness od colours and delicacy of
beauty as have the miniature of Guler. Fog tender clouds and sensitively
treated nature are typical Gharwal. The Radha Krishna period have exceptional
artistic merit and reveal great Garhwal. The Radha Krishna theme also served
their devotional purpose and provide an inherint symbolism.
(A) Krishna
with Gopis
Artist : Manaku, Basohli
Period : 1739 A.D.
School : Basohli School of art.
Medium : Tempra
(Water colour) on paper.
Depiction : Gopis
shown adoring Krishna.
Background : Charming ofrest of Vrindavan (Orange color)
Description of theme :
Two gopis are embarced by Krishna while one is reverently touching his feet and
another one is holding a white “ Chauri”
Bharat worshipping Charan Padukas of Rama- Guler
When unable to persuade
him to return he prays him to give him at least sandals and announces that he
will rulethe state by them and as Rama’s custodian. With Rama’s snadalshe
returns to Ayodhya, some accounts say, carrying them on this head, and some
other add, wlaking bare-footed all the way to Ayodhya. Adhyatma Ramayana says
that even from Ayodhya to Chotrakuta he went as an ascetic – bare footed and
clad in bar. At Ayodhya, he abandons palatial comforts and decides to live at
Nandigram in a grassthatched hut like a forest-dweller in self exile exactly as
would be the life-mode of Rama. He walks bare-footed, wears bark or deer-skin,
has matted hair and sustain and sustains
on fruits and roots. Installing Rama’s sandals on Ayodhya’s throne every
morning-evening he pays them homage and
issues all edicts in their name. He was in the role of a king but lived like an
ascetic. The Padma purana (Patala-Khanda,99) quotes Rama as admitting that
exile is not so oainful as Bharata’s penance as the ruler of Ayodhya, and that
he has turned into askelton being seperated from him.
Cosmic Dance of Shiva-Chamba
Natraj is a visual
interpretaion of Brahman and a dance posture of Lord Shiva. It is the
representation of reality at the time of cosmic destruction. We being life
forms , cosmic destruction would mean the disappearance of all life. The half
moon shown in the head of Nataraj is a symbol only. The fall of the moon would
result in cosmic destruction.
The third eye on the
forehead of the Lord is a symbol. The serpent wrapped around the neck is a
cosmic entity, just as Shiv. Other vedic
texts mention a cosmic serpent called Kundalini’s presence and the cosmic
dnagers associated with its arousal. More abstract and invisible divine energy
centres, called Chakras, as associated with its Rise.
Though I could not depict the scientific as it goes too
scientific, that I really couldn’t understand, I submit some of the comments of
famous scientists about the cosmic dance which is suffecient to prove that the
Indians knew the creation of universe, The Big Bang theory and the Mass Energy relationship.
Title- Nand, Yashoda and Krishna with Kinsmen going to
Vrindavana
Artist :
Nainsukh
Circa : 1780
Medium : water colour
School : Kangra
Collection : National Museum New Delhi
This is a horizontal painting. In it
Nand Yashoda and their kinsmen have been shown going to Vrindavana. In this
painting there are a couple of Bullock carts. In the front cart Nand jee and
the cart man and Yashoda with her maids, friends and a child are sitting with
the cartsman. On the ground the kinsmen or which are walking with their
luggage, In the background wild tress and two stones ae shown or which two
pegions are sitting.
Nainsukh the youngest son of Pandit
Shiva painted this painting is extraordinary Kangra style.
Title – Radha and Krishna Looking into a Mirror
Artist :
Unknown
Circa :
1800 A.D
Medium : Water colour
Collection : N.M
New Delhi
Sub School :
Garhwal
This picture is on unique example of
Garhwal style. This picture has a fountain and two maids are sitting both their
back opposing each other. In the picture Radha and Krishna is looking into a Mirror.
Krishna is holding the mirror in his hand and his head is covered with a crown.
He is painting on a yellow attire and on his left side there is masnad. Radha’s
cloth is Indian red colour sari and her head is covered with the sari. From the
window there was seen a wide green garden, blue sky with light clouds.
In subordinate Pahari art styles. Garhwal
miniature are known for the same softness of colours and delicacy of beautiness
has the miniature of Galer. Fog like tender clouds and sensitively treated
nature are typical of Garhwal style.
Lotus eyes, long straight note, round cheek, beautiful face of ladies, and
their emotional face and hand position make Garhwal style much more expressive.
The local natural beauty covers trees bending with wind, a cloud of dense
leaves are shown wit great efficiency.
Artist : Manaku, Basohli
Period : 1739 A.D.
School : Basohli School of art.
Medium : Tempra
(Water colour) on paper.
Depiction : Gopis
shown adoring Krishna.
