Pahari Painting Style

KALAAMANCH अगस्त 16, 2025

 The Pahari style of painting developed between the 17th and 19th centuries in the Himalayan regions such as Basohli, Guler, Kangra, Chamba, Mandi, Kullu, and Garhwal. It began with the vibrant and ornamental Basohli style and later matured into the refined and emotional Kangra style.

Although influenced by Mughal, Deccani, and Rajasthani painting traditions, Pahari painting emerged as an independent regional style. Scholar B. N. Goswamy credits the artist family of Pandit Seu for its development, who played a key role in the transformation from Basohli to Kangra styles. According to him, it is better to consider artist families rather than political boundaries as the true carriers of this style.

Pahari paintings are known for natural beauty, idealized female faces, and depictions of royal life.

Basohli Style

  • First major style of Pahari painting, flourishing under Raja Kirpal Pal (1678–1695).

  • Significance: Laid the foundation for later Pahari traditions like Kangra and Garhwal.

Features

  • Bright primary colors (red, yellow, blue), often with yellow backgrounds.

  • Stylized landscapes with high horizons.

  • Use of embossed white (pearls in jewelry) and effects of beetle wings & emerald tones for ornamentation.

  • Similar to the Western Indian Chaurapanchashika style.

Subjects & Artists

  • Texts: Rasamanjari (Bhanudatta), Bhagavata Purana, and Ragamala.

  • Painter Devidasa created a famous Rasamanjari series in 1694–95.

  • Themes included Radha-Krishna, religious stories, as well as portraits of kings, queens, courtesans, and astrologers.

Spread

  • Basohli style influenced regions like Chamba, Kullu, Nurpur, Mankot, Guler, and Kangra.

  • Between 1690–1730, the Guler-Kangra style evolved as a more refined form.

Kullu – Ramayana Series ("Shangri")

  • Focused on Ramayana episodes, especially Rama’s exile and charity scenes.

  • Artistic depth: Emotional storytelling through vivid colors and expressive postures.

Example – Rama’s Departure

  • Rama, Sita, and Lakshmana ready for exile.

  • Rama donating cows, ornaments, clothes, and coins.

  • Brahmins, ascetics, commoners, and servants shown with varied emotions (gratitude, disbelief, sorrow).

  • Rama’s calm smile, Lakshmana’s eagerness, Sita’s apprehension.

Guler Style

  • Emerged in the early 18th century as a refined evolution of Basohli.

  • Key figures: Pandit Seu’s sons Manaku (Manak) and Nainsukh.

  • Patronage: Raja Goverdhan Chand (1744–73).

Artists

  • Nainsukh: Court painter to Raja Balwant Singh of Jasrota; noted for realistic depictions of royal life.

  • Manaku: Known for his Gita Govinda series (1730).

  • Their sons Kaushal, Fattu, and Gaudhu continued the tradition under later rulers.

Features

  • Softer colors (whites, greys, pastels).

  • Emotional refinement and delicate naturalism.

  • Left a long-lasting impact on all Pahari schools.

Kangra Style

  • Golden Age: Under Raja Sansar Chand (1775–1823).

  • Artists like Manaku and Nainsukh migrated here, elevating the style.

  • Early works at Alampur, mature works at Nadaun.

Characteristics

  • Most poetic and lyrical among Indian styles.

  • Fine lines, brilliant yet soft colors, intricate ornamentation.

  • Female faces recognizable with a straight profile from forehead to nose.

Themes

  • Bhagavata Purana, Gita Govinda, Bihari Satsai, Ragamala, and Barahmasa.

  • Combined devotion, love, and nature harmoniously.

Notable Depictions

  1. Bhagavata Purana & Ras Panchadhyayi – Krishna’s childhood pastimes (Putana’s death, Govardhana lifting, Kaliya serpent subjugation).

  2. Ashta Nayika – Eight heroines of love (Abhisarika, Kalahantarita, Swadhinapatika, etc.).

  3. Barahmasa Paintings – Love and emotions across twelve months, often inspired by Keshavdas’s Kavipriya.

Famous Paintings & Stories

  • “Waiting Krishna and Doubtful Radha” (Gita Govinda series, by Manaku)

    • Radha hesitates, Krishna waits impatiently.

    • Symbolism: Radha = Soul/devotee, Krishna = Divine, union = Spiritual oneness.

  • Balwant Singh with Nainsukh

    • Balwant Singh viewing a Krishna painting, while Nainsukh portrays himself in the scene.

    • Shows intimacy between artist and patron.

  • Nanda, Yashoda, and Krishna migrating to Vrindavan

    • Depicts fatigue, care, and realism in expressions.

    • Exemplifies Kangra’s naturalistic observation.

Summary

  • Basohli: Bold colors, dramatic expressions, spiritual & literary themes.

  • Guler: Emotional refinement, softer tones, naturalism.

  • Kangra: Peak of lyricism, devotion, and poetic beauty under Raja Sansar Chand.

  • Overall, Pahari painting blends art, literature, devotion, nature, and human emotions into one of India’s finest miniature traditions.



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