The Pahari Schools of Painting Notes in English Class 12 Fine Art Chapter-5 Book-1

The Pahari Schools of Painting

1. Meaning and Region

“Pahari” means hilly or mountainous and refers to the style of painting that emerged in the Western Himalayan hill states. These include regions like Basohli, Guler, Kangra, Kullu, Chamba, Mankot, Nurpur, Mandi, Bilaspur, Jammu, and others. Pahari painting flourished between the 17th and 19th centuries, showcasing rich cultural and artistic traditions unique to these hill kingdoms.

2. Evolution of Style

3. Challenges in Classification

Unlike the Mughal, Deccani, or Rajasthani schools, Pahari painting is harder to classify territorially due to the absence of dates, inscriptions, and artist signatures. While each region had its own stylistic features, these were not always distinct enough to form clearly separate “schools,” making classification more complex.

4. Influences

Pahari painting was influenced by provincial Mughal art, especially its naturalism and refined linework, as well as by Rajasthani styles. This artistic exchange was likely facilitated through family and political ties between the hill Rajas and larger royal courts, allowing styles and techniques to travel and blend.

5. B. N. Goswamy’s Contribution

A leading scholar on Pahari paintings proposed that classification should be based on families of artists rather than geographic regions. He focused on the lineage of Pandit Seu, whose family initially followed the bold Basohli style in the early 18th century and gradually transitioned into the refined Kangra style by the mid-18th century. The scholar argued that it was the influence of naturalism in Mughal painting—rather than the physical migration of artists—that played a greater role in shaping the Pahari aesthetic.

6. Artistic Characteristics

Pahari paintings are known for their naturalistic compositions, soft colour palettes, and lyrical expressions. Some works feature delicately decorated borders or margins. Common themes include scenes from the daily life and rituals of kings, the emergence of a new idealized female form and face, and romantic narratives such as Radha-Krishna love stories, as well as music and poetry. The style evolved and matured over time, especially under the influence of the Kangra school.

7. Scholarly Interpretation

Earlier, it was believed that the transformation in Pahari painting resulted from the migration of Mughal artists, but this theory is now largely disputed. The current understanding is that local artists responded creatively to external influences—such as Mughal art, trade, and visiting artists—which led to stylistic evolution. A family-based classification system is now preferred, as it accounts for the presence of multiple styles within the same region and explains artistic variations more clearly than relying on political or territorial boundaries.

Basohli School

1. Basohli – The Earliest and Boldest Phase

Basohli was the first major centre of Pahari painting, flourishing under Raja Kirpal Pal between 1678 and 1695. This style is distinguished by its bold use of primary colours, especially warm yellows, and stylised vegetation with intricate ornamental detailing. A notable feature is the use of raised white paint to depict pearls and actual beetle wing pieces to mimic the sparkle of emerald jewellery—making it uniquely rich in texture. Basohli painting also shares aesthetic similarities with the Chaurpanchashika style of Western India.

2. Popular Themes in Basohli Art

The Rasamanjari of Bhanu Datta was the most popular text depicted in Basohli painting, especially the famous series illustrated by artist Devida in 1694–95. Other frequently illustrated themes included episodes from the Bhagavata Purana, Ragamala, and Ramayana. Basohli artists also painted vivid portraits of local rulers, queens, courtiers, mendicants, astrologers, and courtesans, showcasing a wide range of characters and social life.

3. Spread of Basohli Style

Basohli artists later migrated to other hill states such as Chamba, Kullu, Mandi, Nurpur, and Bilaspur. In these regions, they developed local variations of the Basohli kalam (style), adapting its bold aesthetic to regional tastes and themes while preserving its distinctive artistic essence.

4. Transition to Guler–Kangra Style (1690s–1730s)

A new, naturalistic, and lyrical style began to emerge as artists moved beyond the bold Basohli tradition. Through experimentation and refinement, this evolving approach gradually shaped the delicate and graceful Kangra style. The artistic transition flowed from Basohli to Guler and eventually to Kangra and other nearby hill states, marking a significant development in Pahari painting.

5. Ramayana Series (Shangri Set – Kullu)

The Shangri style, named after a royal residence in Kullu, was developed by local Kullu artists influenced by both Basohli and Bilaspur traditions. A notable example from this style depicts the scene of Rama’s exile and his generous distribution of gifts—gold, cows, jewellery, and utensils. The painting captures a diverse crowd of Brahmins, recluses, courtiers, and commoners. The artist demonstrates remarkable skill in rendering transparent garments, detailed facial features, and subtle emotional expressions: Rama appears serene, Sita looks apprehensive, and Lakshmana shows curiosity. Even the cows, stretching their necks, convey symbolic emotion, enhancing the scene’s depth and sensitivity.

6. Forest Scene with Sage Vishvamitra

This painting illustrates Rama and Lakshmana protecting sages from demons, set in a dense, wild, and mysterious forest. The artist creates a dramatic atmosphere with hidden details like a half-concealed wolf and tiger lurking behind the trees—possibly symbolizing demons in disguise. These subtle elements add tension to the scene and highlight the bravery and alertness of the heroes, enriching the narrative with layered visual storytelling.

7. Key Features of Basohli & Early Pahari Paintings

Guler School

1. Change in Style:

In the first quarter of the 18th century, the bold and vibrant Basohli style gradually began to evolve into a more refined and delicate artistic expression. This transformation marked the emergence of the Guler–Kangra school of painting, known for its naturalism, grace, and lyrical beauty.

2. Guler as the Centre:

Guler, a royal offshoot of the Kangra family, became the primary centre for the transformation from the bold Basohli style to the more refined Guler–Kangra style. Raja Govardhan Chand (1744–1773) played a crucial role as the key patron supporting this artistic evolution.

3. Key Artists:

The Guler artist Pandit Seu and his talented sons, Manak (also known as Manaku) and Nainsukh, were the main contributors to the development of this refined style around 1730–1740. Their work marked the beginning of a new artistic phase, often referred to as the Pre-Kangra or Guler–Kangra Kalam, which laid the foundation for the mature Kangra school.

4. Features of the New Style:

The Guler–Kangra style was softer, more elegant, and naturalistic compared to the bold and vibrant Basohli style. It emphasized refined emotions, realistic landscapes, and the use of delicate, harmonious colours, creating a more graceful and poetic visual experience.

5. Role of Manak (Manaku):

Manak (Manaku) initiated the stylistic shift at Guler and painted the Gita Govinda series around 1730, marking the transition toward the Guler–Kangra style. While embracing softer forms and refined emotions, he still retained some Basohli elements, such as using beetle wing casings to create a shimmering effect in the artwork.

6. Role of Nainsukh:

Nainsukh, after beginning his career in Guler, moved to Jasrota and became the court artist of Raja Balwant Singh. He is renowned for painting the Raja in intimate, everyday moments—performing puja, sitting wrapped in a quilt, inspecting buildings, and more. Nainsukh's work is celebrated for its realistic portraiture, use of delicate pastel colours, and innovative application of white and grey tones, which brought a subtle elegance and lifelike quality to his paintings.

7. Guler’s Long Artistic Tradition:

Even before 1730, artists were active at Guler during the reigns of Raja Dalip Singh (1695–1743) and his son Bishan Singh. Although Bishan Singh died young, his brother Govardhan Chand succeeded him and became a key patron of the emerging Guler–Kangra style, supporting its refinement and growth into a more naturalistic and lyrical form of painting.

8. Legacy of the Family:

The sons and grandsons of Manak and Nainsukh—such as Fattu, Khushala, and Gaudhu—continued the artistic legacy by working in the courts of later rulers like Prakash Chand, the son of Govardhan Chand. Their paintings represent some of the finest examples of Pahari art, combining technical mastery with emotional depth and lyrical beauty, and firmly establishing the Guler–Kangra style as a pinnacle of Indian miniature painting.

9. Spread and Continuation:

The most refined form of the Guler–Kangra style reached Kangra in the 1780s, marking the emergence of the Kangra School of painting, known for its elegance, naturalism, and lyrical beauty. Meanwhile, the bold and vibrant Basohli tradition continued through its offshoots in regions like Chamba and Kullu, maintaining their distinct artistic identity alongside the evolving Kangra style.

Kangra School

1. Patronage of Raja Sansar Chand

Raja Sansar Chand of the Katoch dynasty ascended the throne at the young age of 10. His grandfather, Raja Ghamand Chand, had previously restored Kangra’s lost territories from the Mughals. Ruling from his capital at Tira Sujanpur on the banks of the river Beas, Sansar Chand became a great patron of art and architecture, commissioning monuments and encouraging cultural growth. Under his leadership, Kangra established its supremacy over the surrounding hill states, ushering in a golden age for the Kangra School of painting.

2. Arrival of Artists from Guler

Due to financial difficulties faced by Raja Prakash Chand of Guler, Manaku’s sons—Fattu, Khushala, and other artists like Purkhu—entered the service of Raja Sansar Chand of Kangra. Under Sansar Chand’s generous patronage, the Kangra court became a major artistic hub. The period from 1785 to 1805 is regarded as the golden era of Kangra painting, marked by exceptional refinement, naturalism, and lyrical beauty in both religious and courtly themes.

3. Features of Kangra Style

The Kangra School is considered the most poetic and lyrical of all Indian painting styles. Its key features include the delicacy of lines, brilliant and harmonious colours, intricate ornamentation, and especially the graceful depiction of female faces. After the 1790s, these faces were characterized by straight noses aligned with the forehead, adding to the elegance and idealized beauty of the figures.

4. Popular Themes

Kangra paintings often depicted themes from classical and devotional texts such as the Bhagavata Purana (especially the Rasa Panchadhyayi), Gita Govinda, Nala Damayanti, Bihari Satsai, Ragamala (musical modes), and Baramasa (the twelve months of love). They also included portraits of Raja Sansar Chand and scenes from courtly life, all rendered with lyrical grace and rich detail.

Notable Paintings and Depictions

5. Bhagavata Purana Series

Kangra paintings beautifully showcase Krishna’s lilas (divine plays) and the gopis’ deep emotional devotion. The Rasa Panchadhyayi section often features gopis reenacting Krishna’s legendary feats—such as killing Putana, lifting Mount Govardhan, taming the serpent Kaliya, or playing the flute while gopis defy their mothers-in-law. Some paintings even portray gopis taking on the roles of Krishna and Yashoda, symbolizing intense bhakti (devotion) and spiritual love.

6. Ashta Nayika Theme (Eight Heroines)

Kangra paintings delicately portrayed the emotional states of women in love, capturing their inner feelings with grace and sensitivity. These included Utka (the longing woman waiting for her lover), Svadhinapatika (the confident woman who controls her husband), Vasaksajja (the woman preparing and decorating the bed for union), Kalahantarita (the one upset or estranged due to her lover’s delay), and Abhisarika (the bold woman who braves a stormy night to meet her beloved). These themes reflected the deep emotional spectrum of love and longing in classical Indian poetry and art.

7. Baramasa Paintings

The Baramasa theme in Kangra painting includes 12 artworks, each representing a month of the year and its associated emotions in love. For example, the painting for Jyeshtha (May–June) portrays the scorching summer heat and the mood of separation, capturing the emotional and seasonal essence of that time.

8. Centres of Kangra & Related Styles

9. Decline of Painting Activity

In 1805, the Gurkha invasion forced Raja Sansar Chand to flee to Tira Sujanpur. Although the Gurkhas were expelled in 1809 with the help of Maharaja Ranjit Singh, the golden era of Kangra painting came to an end. Artistic activity continued, but the quality and refinement of the paintings declined significantly after 1805.

10. Styles Overview

Awaiting Krishna and the Hesitant Radha

Artists:

Pandit Seu was a renowned painter from the Guler school and the patriarch of a celebrated artistic family. His sons, Manak (also known as Manaku) and Nainsukh, played pivotal roles in shaping the Guler–Kangra style. Manak is best known for his Gita Govinda series, while Nainsukh worked at the Jasrota court, where his realistic portraiture and refined technique significantly contributed to the evolution of Pahari painting.

From Basohli to Kangra Style:

The bold and vibrant Basohli style gradually transformed into the more refined and graceful Kangra style during the Guler–Kangra phase in the mid-18th century. This transitional style is renowned for its naturalistic beauty, delicate lines, and expressive emotional content, marking a significant evolution in Pahari painting.

Gita Govinda by Manaku

The Gita Govinda series in Kangra painting is based on Jayadeva’s renowned Sanskrit poem. Its central theme is the divine love story of Radha and Krishna, set against the serene backdrop of the River Yamuna, capturing moments of passion, separation, longing, and reunion with lyrical beauty and emotional depth.

Storyline Highlights (As Painted):

The Gita Govinda series narrates the divine love story of Radha and Krishna. It begins with their falling in love amidst the beauty of spring and Krishna’s playful moments with the gopis. Radha, feeling hurt by his attention to others, distances herself. Her friend (sakhi) consoles her, while Krishna, filled with remorse, longs to reunite with Radha. The sakhi encourages Radha to overcome her shyness and go to Krishna, letting her bangles and waist-belt jingle proudly. Finally, Radha agrees, walking with love and hesitation, her arrival marked by the sound of her bangles—symbolizing the union of divine love in human form.

Spiritual Meaning:

In the Gita Govinda, Radha symbolizes the devotee or soul, while Krishna represents the Divine Cosmic Power. Their union signifies the deep spiritual bond between the soul and God, reflecting ultimate devotion, longing, and the soul’s complete surrender to the divine.

Visuals in Painting:

In the Gita Govinda paintings, Radha is portrayed as shy and hesitant while entering the forest, symbolizing her inner conflict and longing. Krishna is shown eagerly awaiting her arrival. The emotions of love, anticipation, and devotion are beautifully conveyed through delicate gestures, expressive facial features, and the use of soft, harmonious colours. 

Balwant Singh looking at a Painting with Nainsukh

This painting shows Prince Balwant Singh of Jasrota sitting in his palace, peacefully observing a painting in his hands. Behind him stands a politely bowing figure, likely the artist Nainsukh himself, making this a rare self-portrait with his patron. The scene is calm and quiet, set in the early evening with a green landscape in the background. Balwant Singh is relaxed, smoking a hookah during a break. Musicians are quietly placed at the edge, gently playing music to maintain the peaceful mood, while the prince stays focused on the painting of Krishna.

Nanda, Yashoda and Krishna

This painting shows a scene from the Bhagvata Purana, where Nanda, with his family and villagers, is moving to Vrindavan to protect Krishna from demons troubling him in Gokul. Nanda leads the group on a bullock cart, followed by another carrying Krishna, Balaram, Yashoda, and Rohini. Other villagers walk along, carrying household items. The expressions and movements are finely detailed—fatigue shown in their eyes, tilted heads in conversation, and stretched arms holding vessels. The Kangra painter’s skill is clear in the realistic landscape and natural poses, giving the painting a photo-like, lifelike feel.