The Pahari Schools of Painting

The Pahari Schools of Painting

The term 'Pahari' literally means 'of the hills' or 'mountainous,' referring to the geographical origin of these painting schools in the western Himalayas. The Pahari Schools of Painting encompass a range of artistic traditions that flourished from the 17th to the 19th centuries in hill towns such as Basohli, Guler, Kangra, Kullu, Chamba, Mankot, Nurpur, Mandi, Bilaspur, Jammu, and others. These schools are known for their distinctive styles that evolved over time, beginning with the bold and flamboyant Basohli style and culminating in the refined and lyrical Kangra style through an intermediate Guler or pre-Kangra phase. Unlike other Indian painting schools such as Mughal, Deccani, or Rajasthani, the Pahari paintings present challenges in territorial classification. Although each center developed its own individualistic characteristics—such as depictions of nature, architecture, facial features, costumes, and color preferences—they did not evolve as completely independent schools with sharply distinctive styles. The scarcity of dated works, colophons, and inscriptions further complicates precise categorization. Scholars have proposed various theories about the emergence of the Pahari style. It is widely accepted that the Mughal and Rajasthani painting styles influenced the hills, probably through provincial Mughal artworks and familial ties of hill rulers with Rajasthan courts. However, the earliest and most dominant pictorial language is generally understood to be the bold Basohli style. Renowned scholar B. N. Goswamy attributes the shaping of the Pahari style to the evolution from the simplicity of Basohli paintings to the poetic lyricism of Kangra, largely through the contributions of a family of artists headed by Pandit Seu (also called Shiv). He argues that identifying Pahari paintings solely by region is misleading due to fluid political boundaries and overlapping stylistic strands. Instead, he proposes that family lineages of artists are the true bearers of style, accommodating multiple stylistic idioms within the same region. In the early 18th century, the style of the Seu family and others conformed to the Basohli idiom. From the mid-18th century, this style transformed through a pre-Kangra or Guler-Kangra phase, eventually maturing into the Kangra style. This transformation was influenced by the introduction of Mughal-style paintings into the Pahari kingdoms, which inspired local artists to experiment and innovate. Contrary to earlier beliefs, scholars now dispute that this change was due to the migration of Mughal artists. Instead, the naturalism and refined compositions of Mughal paintings appealed to Pahari artists, who incorporated these elements into their own work. Pahari paintings often feature compositions worked out from relative points of view, sometimes with decorated margins. Themes include royal daily routines, important occasions, new prototypes for female forms, and idealized faces. These features are associated with the emerging style that matured into the Kangra phase.

• Pahari means 'of the hills' and refers to painting schools in the western Himalayas.
• Centers include Basohli, Guler, Kangra, Kullu, Chamba, Mankot, Nurpur, Mandi, Bilaspur, Jammu, etc.
• Basohli style is the earliest, bold and flamboyant phase.
• The style evolved through Guler (pre-Kangra) phase to the refined Kangra style.
• Classification by region is difficult due to fluid political boundaries and overlapping styles.
• The family of artists headed by Pandit Seu played a key role in shaping the Pahari style.
• 📌 Pahari: Pertaining to the hilly or mountainous regions of the western Himalayas.
• 📌 Basohli Style: The earliest Pahari painting style known for bold colors and dramatic expression.
• 📌 Guler-Kangra Phase: Transitional phase between Basohli and Kangra styles marked by refinement.

Basohli School

The Basohli School represents the first and most dramatic phase of Pahari painting, flourishing under the enlightened rule of Kirpal Pal from 1678 to 1695. Basohli paintings are characterized by a strong use of primary colors and warm yellows that fill the backgrounds and horizons. The vegetation is stylized, and artists used raised white paint to imitate pearls in jewelry. A distinctive feature is the use of small, shiny green particles of beetle wings to depict jewelry, simulating the effect of emeralds. The palette is vibrant and elegant, sharing aesthetic affinities with the Chaurpanchashika group of Western Indian paintings. The most popular theme among Basohli painters was the Rasamanjari of Bhanu Datta. In 1694-95, Devida, a tarkhan (carpenter-painter), created a magnificent series for Kirpal Pal. Other themes included the Bhagvata Purana and Ragamala. Artists also painted portraits of local kings, their consorts, courtiers, astrologers, mendicants, and courtesans. The Basohli style gradually spread to other hill states such as Chamba and Kullu, giving rise to local variations known as the Basohli kalam. A new style of painting emerged during the 1690s to 1730s, referred to as the Guler-Kangra phase, characterized by experimentation and improvisation that eventually led to the Kangra style. One of the favorite texts illustrated by Basohli and Kullu artists was the Sanskrit epic Ramayana. The Shangri Ramayana set, painted in Kullu, is a well-known example influenced by Basohli and Bilaspur styles. Paintings from this set depict episodes such as Rama learning of his exile and preparing to leave Ayodhya with Sita and Lakshmana, giving away his possessions with equanimity and generosity. The artists carefully portrayed different types of people—recluses, Brahmins, courtiers, commoners—with varied expressions, conveying the gravity of the moment. The transparency of garments, stippled beards, tilak marks, jewelry, and weapons are rendered with fine detail. Another painting from the same set shows Rama and Lakshmana accompanying sage Vishvamitra to the forest to defeat demons disturbing hermits. The artist cleverly represents animals like a wolf and tiger stealthily prowling behind trees, adding emotive value and mystery to the scene, as these animals might be demons in disguise.

• Basohli School flourished under Kirpal Pal (1678-1695).
• Characterized by bold primary colors, warm yellows, stylized vegetation, and raised white paint for pearls.
• Use of beetle wing particles to depict emerald-like jewelry is distinctive.
• Popular themes: Rasamanjari, Bhagvata Purana, Ragamala, and portraits of local rulers and courtiers.
• Basohli style spread to Chamba and Kullu, leading to local variations.
• Shangri Ramayana set from Kullu shows influence of Basohli and Bilaspur styles.
• 📌 Basohli Style: Early Pahari painting style known for bold colors and decorative use of beetle wings.
• 📌 Rasamanjari: A poetic text popular as a theme in Basohli paintings.
• 📌 Shangri Ramayana: A set of Ramayana paintings from Kullu influenced by Basohli style.