Unit – 1

Miniature School (750 AD)

Miniature paintings originated in India around 750 AD. These are delicate handmade paintings, very
small in size than a normal painting, done on any surface with in any medium.

Any painting done in small size, in any medium and on any surface is called a Miniature
painting.
Size of Miniature painting:

• They are made on a very small scale especially for books or albums. This painting is mostly
presented with minute detail.
Surface of miniature painting
• Earlier these paintings were generally painted on palm leaf, Bhojpatra, a piece of cloth, a piece
of leather, Elephant tusk, marble, Tree skin or ivory and late on handmade paper. One of the
outstanding features of these paintings is the complex and delicate brushwork that contributes
to their distinctive identity.
Themes:-
• It may be a portrait, an illustration of a story or a scene from daily life.
• While artists around the world express their respective theme through their paintings, the most
common theme used in miniature paintings of India includes ragas or musical notes, portraits,
illustrations, and a pattern of religious and mythological stories related to Buddhism.
Colors used:-
The colours used in the paintings are derived from various natural sources such as vegetables, indigo,
precious stones, conch shell, pure gold, and silver.

Brushes made:-
Very fine brushes were used, mostly made with Squirrel hair or Camel hair.

History of Miniature Paintings

• The earliest Miniature paintings in India Can be tracked back to the 7th Century AD, when They
flourished under the patronage of Palas of Bengal.
• Most of the paintings related to Buddhism.
• In western India, the miniature artistic movement was inspired by jainism.
• This form prevailed in the regions of Rajasthan, Gujarat and Malwa from the 12 th to 16th
Century AD.
• This art form reached its peak during the Mughal rule. Rule. The tradition of miniature painting
was further taken forward by the artist of Deccan School of painting, Rajesthani school of
painting and Pahari school of painting.
• The Palas of Bengal is considered the pioneers of miniature painting in India. The Tradition of
Indian miniature painting can be traced from 9th-10th century.
• After the murals and Frescoes of Ellora and Ajanta paintings.
• A large numbers of manuscripts on palm leaves related to Buddhist themes were written and
illustrated with the image of deities of the Centre in the eastern India and in western India in the
Jain palm leaf manuscript.
• They were originally painted on leaves, but with the invention of paper in 12th century. Then the
painters began to create these works on paper. The Jain paintings depicted stories from
religious texts like “ Kalpa Sutra” and prevailed in Malwa, Rajasthan and Gujarat regions.
The Important and famous schools of art on that time are:

PALA SCHOOL OF ART

Other Name - Eastern School of Art
Location- Bengal, Bihar, Orissa
Time Period- 750 AD to the Middle of the 12th century AD
Paintings- Monasteries and Somapura
Dynasty- Palas
Patronage- Raja Dharam Pal and Dev Pal
• Manuscripts were painted on palm leaves in Ajanta style related to Buddhist themes
and painted with images of Buddhist gods.
• These Painting were made at these Centers like Nalanda and vikramshila during
the region of the Pala kings.

Technique and Features

• These Paintings were made in the middle of palm leaves (Tala Patras) and scripts are
written in 6-7 lines on both sides. There is very little space left in the middle for
painting.
• The palm leaves were tightly protected with two wooden plates of same size by thread
through holes made at both ends of the palm leaves.
• Mainly savachashma (one and quarter eyes) faces are drawn, large long eyes and
sharp noses, curvy black outlines, bright colours, limited figures, simple compositions,
banana, and coconut trees were painted and the sky was rarely painted.
• Red, blue, pink, reddish brown is used in the paintings.
Subject Matter:-
• The theme of these paintings is mainly ‘Astasahasrika Prajnaparamita’ and these
manuscripts include ‘Jataka stories”, in the lifestyle of Lord Buddha.
• There is the influence of Ajanta, the figure of Lord Buddha is depicted slightly larger
than other figures to give dominance to Lord Buddha.
• Pala Art came to an end When Muslim invaders attacked, somehow this school came
to an end and Buddhism also shifted to Nepal and Tibet.
CHARECTERISTICS

• Well formed eye faces

 • Curvy Black outlines

• Natural Colours

• Simple Composition

• Graceful Figures

• Inspired by Ajanta style

JAIN SCHOOL OF ART

Other Name – Western School of Art
Location- Gujarar, Rajasthan & Part of Malwas
Time Period- Later half of the 10th century AD to the 16th century AD
Dynasty- Chalukya

Description-
• This school is also known as Western Indian School, which flourished in Gujarat,
Rajasthan, and Western India. Initially painted on palm leaves from 11 th to 14th century
AD, later Jains started painting on paper from 14th to 16th century AD.
• The motivating force for the artistic activity in Western India was Jainism that was
patronised by the Kings of Chalukya Dynasty who ruled Gujarat, parts of Rajasthan
and Malwa.
• The oldest paintings of this school are of Tirthankaras - Parsvanath, Neminath and
Rishabhnath. Twenty Tirthankaras were painted in these manuscripts which are
available in the jain libraries (bhandaras) found at many places in Western India.
• The illustrations on these manuscripts are in a unique style of strong distortion. One
finds in this style an exaggeration of certain physical traits for instance eyes, breasts
and hips are enlarged.
• Figures are flat with Angularity of features and the further eye protruding into space.
This is th art of primitive vitality, vigorous line and forceful colours.
• From about 1100 to 1400 A.D., palm-leaf was used for the manuscripts and later on
paper was introduced for the purpose.
• Two very popular, influential and moralizing Jain texts that were repeatedly written and
illustrated with paintings are:

1. The Kalpasutra (The Book of Ritual) contains biographies of the four most significant
Jinas, including Mahavira

2. The Kalakacharya-Katha, Story of the Teacher Kalaka.

Other texts are Uttaradhyana Sutra and Sangrahini Sutra among others.

Technique and Features:

 • The important feature of Jain miniature paintings is the stylish figures of women in the
paintings. In addition, the figures are decorated with faces in three fourth profiles and
given short stature.
• Paints derived from stone dust and organic dyes, especially from vegetables, minerals
including metals such as gold and silver were used to illustrate the stories. Some
special features of these paintings are to show enlarged eyes and square-shaped
hands.

Subject Matter:
• The Jain paintings depicted stories from religious texts such as ‘Kalpa Sutra’ and ‘Kala
Acharya Katha’. But later it also included Brahmanical religious themes.
• The stories that were depicted were inspired by Jain religious texts, such as the figures
of Tirthankara Devi and Gandhara Reformation. The subjects in the paintings were
heavily embellished using mainly red. Green, yellow, and blue colours.
CHARACTERISTICS
• A Unique style of strong distortion
• Enlarged eyes, Breasts and Hips
• Exaggeration of certain physical traits
• Figures are flat
• Protruding eyes
• Vigorous lines

SCHOOL OF CENTRAL INDIA

Location: Malwa Region of Madhya Pradesh

Time Period: 11th to 12th Century

Patrons: Khalji dynasty and Sultan Baz Bahadur

Influenced by: Jain Manuscripts of Gujarat, Muslim element of Jaunpur, Rajput Art of
Northern, Deccan style of South, and Persian Influence.

Description
• It is a mixture of many styles. The school flourished between the 11 th and 16th
centuries AD.
• It was influenced by Jian manuscripts from Gujarat, Rajasthan from north, Muslim
paintings from Jaunpur and Deccan paintings from south. It was the new and rich style
that grew from the fusion of all these styles.
• The Kalpa-Sutra illustrations of Mandu (in Malwa region of Madhya Pradesh) mark the
initial phase of the miniature/manuscript art in central India as early as the 11th-12th
century.
• In the 15 century Mandu was ruled by Khalji dynasty under which we see the Persian
influence in Nimat-Nama (Book of delicacies). Later when it was ruled by Sultan Baz
Bahadur, Ragmala (Necklace of musical nodes) series, Laur chanda and
Chaurpanchshikha series became subjects due to the rulers inclination for secular and
romantic themes.

Technique and Features:

• We can see paintings with strong Persian influence but Hindu elements can also be
found in the paintings.
• Paintings are characterized by angular features.
• Bright colours have been used while expanding accuracy and detail.
• It is a mixture of folk elements. Protrusion of the front eye, pointed nose, double
chin has been shown. The figures shown are of medium height.

Subject Matter:
• Themes like Romantic and Ragamala, Ramayana, Bhagavata-Purana, Amaru
Shataka etc. were introduced.
• With the entry of Muslims invaders, the artist took shelter in different areas. This
school is also considered to be the founding head of Rajasthani, Pahari, and
Deccan Miniature.
• In Malwa (M.P.) in Central India, the art of miniature painting was pioneered at Dhar,
Ujjain, Nustatgarh and Narsyang Sahar in the 16th century .
• The main feature is their frequent narrative depiction of themes in small
compartments on a small area. They are also excellent in execution, colour-
scheme, accuracy of details and elaboration. Bright basic colours, blend of folk
elements and highly charged faces are the other feature of Malwa miniatures.

Characteristics
• Large Protruding eyes
• Angular Faces
• Men & Women of Moderate Height
• Double chin
• Plenty of Motifs

Rajasthani School & Art/Painting

Location : Punjab, Haryana, Uttar Pradesh, Madhya Pradesh and Gujarat
Time Periad (16th to 19th Century AD) 19th
Sub Schools: Jaipur, Mewar School, Bundi School, Bikaner School, Jodhpur School,,
Kishangarh School of Art.
 Other Names :- It is also known as Rajasthani or Rajput or Hindu School of Art.
GEOGRAPHICAL SITUATION:
• Rajasthan is surrounded by Pakistan, Punjab, Haryana, Uttar Pradesh, Madhya Pradesh
and Gujarat.
History
• Rajasthan means place of Kings (Rajas) or place of States (Rajaya’s) as there were so
many kings and states in earlier times.
• Rajasthan Art is not a new School of Art but it was a refined and purified form of the
same Indian Traditional Art which was developed in Rajasthan, Gujarat and Mewar.
• This art was based on Hindi literature, Music, Poetry, Religion, Rag and Raginis, Ritikala
Paintings etc.

ORIGIN AND DEVELOPMENT OF RAJASTHANI ART:

• Rajasthani School did not originate as miniature but it was primarily a mural art. This
art was developed under the Rajput kings so it is called Rajput Art. A number of
paintings were done on romance and general folk themes.
• Rajasthani art flourished due to two major factors firstly, the economic prosperity of
the commercial community which encouraged literature, music and the arts and
secondly, the revival of Vaishnavism and the growth of Bhakti cult against caste
system which was dividing Hinduism.
• Mewar has an important place in the development of Rajasthani school of Art. It is a
mixture of Gujarat and Jain school along with original Indian Art. But Rajasthani school
of Art is a pure Indian Art.
• Even today Nathdwara Paintings are very famous; more of the paintings depict love
scenes of Radha and Krishna. The estate (Jagir) which was inherited by Kishan Singh
the eighth son of Raja Udai Singh of Jodhpur is known as Kishangarh.
• This state is surrounded by Jaipur, Jodhpur and Ajmer. The palace of Kishan Singh is
situated on the bank of a beautiful Lake.
• After Kishan Singh, Raja Raj Singh the father of Raja Sawant Singh ruled the state of
Kishangarh and the Art reached at its climax during his reign.
• Kishangarh Paintings are very famous even today. If we want to show the typical
Rajasthani Painting then we can show Kishangarh Paintings which are world famous
e.g., Radha, Bani-Thani.
• The pictorial Art of Rajasthan shows the sentiments of love and devotion with
exuberant joy of life. Central theme is love.
• Love is conceived as the symbol of union. The lovers were always presented as Radha
and Krishna. The figure of Krishna stands for divine-soul and Radha for human soul.
Themes and Use of Colours
• There is a lot of variety in the themes of Rajasthani paintings. The paintings are related
to Hindi literature, Rasikpriya, Rasmanjari and Kava Priya etc.
 • Thousands of paintings were produced on Ragamala, Rag Ragnis, Barahmasa Series,
love etc. It was influenced by Tulsidas, Kabir and Ramanand.
• Themes are based on seasons, music, hunting scenes, depictions of Ramayana,
Mahabharata, Bhagawat purana, Geet Govindan, Shiva purana.
• The central theme of the painting is ‘Bhakti’ (religious theme). In these paintings, the
love of Krishna and Radha is conceived as a special appeal.
• Krishna used to worship not only as God but also as an ideal lover. The art was based
on Krishna for the divine soul and the feelings of love and reverence for the human
soul, literature, music, religion, Hindi Rasikpriya (Riti kavya, Ragi Ragini).
• It was characterized by a bold style of painting, the use of high contrast colours, and
white use without mixing. The main colours used are the Primary colours (red, yellow,
and blue), green, brown, and white. Golden and silver were also used.
• 'Pichwayi' (back curtains) is a style of painting that originated 400 years ago in the town
of Nathdwara near Udaipur in Rajasthan.
• Nathdwara Paintings mostly depicted love scenes of Radha and Krishna. Intricate and
visually stunning, the Pichwayi Paintings of Kishangarh which are very large belong to
Nathdwara tradition and depict the life stories of Lord Krishna on cloth.

Following were the main Sub-schools of the Rajasthani Miniature

Painting:
In Rajasthani paintings, these are major schools of Art. Mewar School of art, Bundi School
of art, Kishangarh School of art, Jodhpur School of art, and Bikaner School of Art and Jaipur
School of art. The schools were different based on colours, figures, and themes.

Mewar School:
• The Mewar school flourished in a completely indigenous folk style under the
patronage of Rajput kings.
• Sahib din, a court painter from Mewar, and Manohar, an artist from Mandu, were
famous painters of this school.
Themes:-
Sahib din painted a series of paintings such as “Nayak-Nayaka Bhed”, Bhagavata Purana and
“Ragamala”. He also painted themes of social and cultural life and transformed the paintings
of Mewar paintings from primitive folk style to modern style.

Garments
• The main garments of men’s personalities were jama, patka and pag, while the female
personalities were choli lehengas and transparent odhanis.

Techniques
 Colourful elephants and camels in this style look more natural than birds. The text of the
painting is written in black at the top against the yellow ground.

Features
• The most important features of the Mewar School were that many paintings in this
style are centred around the Krishna Bhakti sampradaya.
• The dress depicts the senses of the Rajput court, the songs and dances of the
wedding processions, the inner life of the places as well as the scenes of the
battle.
• Bright and elegant colours have been widely used.

Bundi School
• Bundi School is an important school of Indian miniature painting of Rajasthani style.
• Bundi in the early 17th century AD, the school developed in Kota, Bundi and
Jhalawar during the reigns of Raja Ram Singh and Raja Arjun Singh.
• The school reached its peak in the mid-18th century AD, initially influenced by the
Mughal and Mewar school. Later, it emerged as an independent school. Bundi School
is very close to Mewar School.
Features
• Nature is depicted in real form in this school. The reddish brown colour is its unique
feature of the Bundi school.
• Women are depicted with round faces, curved foreheads, sharp noses, long chins, and
eyes like lotus leaves.
• Sharp pointed eyebrows with full cheeks. The faces of the women are shown soft and
smiling.
• The light and shadows shown near the eyes indicate depth.
• Men’s figures have been shown healthy.

Garments
• Women are painted in Lehengas, Cholis and Ghagras.
• There is a keen interest in the depiction of lush vegetation and beautiful scenery.
• Red and bright colours were used.

Themes
Barahmasa and Rasikpriya were included as subjects. The Decani effect can be seen in
women’s cylindrical forms, gardens, Fountains, and architecture.

Kishangarh School
 • The history of the present Kishangarh painting started in the 17th century at the period
of Raja Sawant Singh.
• The estate (Jagir) which was inherited by Kishan Singh, the eighth son of Raja Udai
Singh of Jodhpur is known as Kish Kishangarh.
• Sawant Singh was a scholar and an expert in Music, Poetry and Painting. A devotee of
Krishna and a follower of vallabh sect, he wrote over fifty books under pen name Nagri
Das.
• He fell in love with a girl who served as an attendant to his stepmother. This girl whose
real name is not known, was called Bani Thani which means smart and well-dressed.
• Radha of Kishangarh or Bani Thani by Nihal Chand is the most famous painting of that
time.
• Beauty in the portrayal of women is one of the main achievements of this school.

Features
• The sensitive, modified characteristics of men and women are drawn with pointed
noses and chins, deep curved eyes, and locks of hairy snakes.
• Illustration of stylish compositions of panoramic landscapes.
• Sawant Singh was a devotee of Lord Krishna. He wrote many poems under the
name of Nagari Das addressing Lord Krishna.
• Nagari Das drew his poetic inspiration from a town painter named Nihal Chand, who
was the master in depicting Radha and Krishna.
• Nihal Chand was the court painter of Nagari Das. He painted the famous ‘Bani Thani.
• Beauty in depiction of women is a chief achievement of this school, Bani Thani being
the prime example. Kishangarh School is the most stylised of all sub-schools of
Rajasthan.
• There was a general tendency to elongate human form, facial type was distinct with a
lock of hair at cheeks.
• The landscapes were panoramic with lavish use of green in them

Themes
Apart from illustrations on Sawant Singh’s work, the scenes from the court, royal portraits,
Bhagvat Purana, Bihari Chandrika, Nayak-Nayika bheda and Geet Govind were also painted.

Jodhpur School:
• The Jodhpur style originated by taking clues from the art of Mandora Gate.
• Mandora, as we know it, was the 13th century capital of the Rathore’s, who later
established Jodhpur as their new capital in 1459.

Themes
 • These paintings depict thorny shrubs, deer, camels, crow, and horses, as well as many
sand dunes.
• These paintings have a folk character and are relatively less influenced by Mughal
traditions.
• In the early period, the Jain style was presented in the form of the patron Jain merchant
Bhagavata Purana, Nal Damayanti, and the scenes based on the character Durga were
mostly portrayed.
• Illustrations based on Siva Purana, Nalacharita, Durgacharita and Panchtantra were
painted in this phase.
• A Ragmala Set was painted by artist Virji and portraits of a war hero called Durgadas
Rathore’s horse riding portraits were also popular.

Features
• Due to Mughal influence, beautiful and romantic images of women have been painted
in outline against a dark background.
• A woman flying a kite is the best ex ample of this.
• Women’s figures extend to the ears, with a head high forehead, a sharp nose like a
parrot’s beak, eyes like a wagtail, a thin waist, and long legs.
• Jodhpur painting are somewhat larger than other miniatures.
• Background is generally full of dense forest.
• The Jodhpur style came when the composition featured rhythmic lines and colours
like jewellery.
• This phase showcased the captivating simplicity of female personalities and beautiful
long high eyes.

Bikaner School
• Bikaner has long been an important centre of Rajasthani miniature paintings, Bikaner
School developed after the 17th century A.D. under the patronage of Rathore dynasty
of Rajput kings with high Mughal character like Raja Rai Singh, Raja Karan Singh
and Raja Anoop Singh.
• Artists of Mughal courts took shelter here or because the rulers received paintings as
goodwill gifts from the Mughals.
• Raja Rai Singh was particularly dedure by the Mughal Art. One manuscript found in this
era, Meghdoot is in apbhransha style.

Themes
• The subjects painted often originated from Indian mythology. Scenes from the
Ragmala, Bhagavata Purana, and Rasa lila were painted.
 • Some developed form of Bikaner art can be seen in palace walls of Anup mahal,
Sujan Mahal etc where Barahmasa and Ragmala were painted.
• All artists were muslim but painted Hindu themes skilfully, Rasikpriya and Varsha
Vihar to name a few. Some artists names that stand out in record are Ustad Ali
Raza, Nurudin Isa etc.
• The theme of this school is based on Ramayana, Mahabharata, Krishna Katha and
the love scene of Krishna and Radha and Krishna.
• ‘Krishna Sporting Mount Govardhan’ is the best masterpiece of Bikaner School
painted by Sahib din. In 1690 AD.

Features
• The Bikaner style of painting had finer lines and a lesser range of colors than what
are typically present in the Mughal artwork.
• In the Bikaner style, women’s half-closed eyes, small chin, tight lips, thin wrists are
painted.
• Men are shown narrow chests and moustaches bent downwards. The women of
Ghaghara are decorated with stripes and fine works.
• Though most of the artist of this school were Muslims yet they painted Hindu’s
themes very efficiently.
• The clouds are painted in a circular pattern.
• The leaves of the trees are repeatedly shown painted in clusters of patterns.
• Painted domes and nets in this style have a clear Mughal effect.
• Mostly green, grey, purple, and brown colours are used with tonal variations.

Garments and ornaments

• Excellent drawing, use of jewellery such as colours, landscapes, details etc. Are
features of Bikaner style.

MAIN CHARACTERISTICS OF RAJASTHANI SCHOOL OF ART

The art of Rajasthan is characterised by primitive vigor, bold outlines and brilliant colors.
However the treatment of facial types, local scenery- and technical details are different in sub
schools. Some general features are as follows:

1. Diverse Sub-matter: The themes of the paintings were as follows:

(i) Religious Paintings: Ramayana, Mahabharata, Radha Krishna, Bhagwat
Puran, Durga Mahatmaya etc.
(ii) Literary Paintings: Other than the above subjects inspired from Indian
epics, devotional poetry, romantic poetry and Indian music were also their
themes. Bhakti Sagar, Riti Kavya, Geet Govind, Sursagar, Ragmala, Rasik
 Priya, Ramchandrika, Nayak-Nayika Bheda, Barahmasa, Panchtantra are
the examples of the illustrated literary themes.
(iii) General: Court scenes, Battle scenes, portraits, night scenes, general life
have been beautifully painted in Rajasthan Schools of Art.
2. Linear Beauty: Since this art developed from Western and Central Indian schools,
bold lines are apparent in the initial phases. Later line became thin, rhythmic, soft and
graceful in all sub-schools of Rajasthan.
3. Colour Scheme: Colors bring out the effect of all emotions, for instance, red for anger,
passion and fury, yellow for marvelous and blue for royal splendor. Mostly bright and
glowing colours are used carefully in a harmonious contrast. The pure hues of red,
yellow, blue, brown, white without mixing any other colour are used. In some paintings
gold and silver colours have also been used. Background is mostly flat.
4. Two dimensional Paintings: Contours are defined with simple lines, and flat colors
are used in the background without any gradation. Perspective details, horizon or
skyline are not of much importance to these artists leading to a plane two-dimensional
effect.
5. Symbolism: Radha and Krishna have been depicted symbolically in the form of
human soul and Krishna and Gopis stand for devotion and romance. Natural elements,
birds and animals are used as tools for portraying Bhava be it Ragmala, Barahmasa or
any other romantic illustration.
6. Spiritual Love: The pictorial Art of Rajasthan shows the sentiments of love and
devotion with cheerful joy of life. Central theme is love which is conceived as the
symbol of spiritual union. Radha-Krishna, Nayak-Nayika Bheda, Ragmala, Krishna-
Gopis are a few themes which glorify the romantic element of Rajasthani art and the
overall passionate character of its people.
7. Stylisation : Trees are ornamental, repeated shapes of leaves are painted in light and
shade. Sometimes they appear only for ornamentation in the composition.
8. Human Figure: During the period of folk art influence, figures were all identical, they
had round face with pointed nose and elongated eyes. Body is smaller in proportion to
the face but improved in later decades. Men have robust body, yellowish skin and hair
reaching till ears. Female figures are frequently painted. Their faces are brighter with
shapely bodies and expressive faces. Human faces are shown from different angles,
mostly faces are profile in Ek-chashma. However, in Bundi there is light and shade on
faces and expressions differ.
9. Depiction of Nature: Nature has been beautifully depicted in Rajasthani Paintings.
Different Trees, Mountains, Water Springs, Floral Trees and Lakes have successfully
depicted the beauty of nature. Animals and birds came as Mughal influence. Though
their execution is not very proficient initially but improved later. Nature also
compliments as a tool for emotional expression. Clouds, birds, streams add to the
idea of romance be it union or separation. Trees, creepers and flowers add to the
romantic charm.
10. Depiction of Women: There is brilliant representation of feminine charm in different
modes and moods. Women have soft faces. Face and neck are long with high sloping
forehead, long pointed noses and well cut lips. Limbs are shapely with thin fingers. The
metaphorst are drawn for feminine ideals – bodies are slim, flexible and tall like
creepers; eyes are like wagtail (khanjan pakshi) or lotus and eyebrows are the shape of
a bow.
Interestingly, they all resemble each other, apparently one face was duplicated for all.
The women of Kishangarh deserve a special mention with a highlight of a lock of hair
hanging near the ears adding to the feminine beauty. The Radha of Kishangarh’ or ‘Bani
Thani’ is world famous painting of Rajasthan. A postal stamp was also issued by the
Indian Govt. Based on this painting.
11. Ornaments and Garments: Diamond and pearl studded jewellry in meticulous
designs is commendable. The royal ensembles comprise of earrings, rings, armlets,
bangles, elaborate forehead adornments and necklaces, Garments in great variety are
highly decorative. Ladies have been shown wearing Lebanga and Choli with
Transparent Chunni. Males have been shown wearing high turbans and Jhabba (a
bunch of threads). Pajama and Rajput style Patka is also there. Floral prints and stripes
can be seen in ghagras.
12. Landscape or Seasons Painting: Landscapes have been beautifully painted in
different seasons. Painting of Barah Masa is the depiction of various seasons during
twelve months. Water is a mix of blue and black and waves are shown in white. In
Bundi paintings, red band of sunset sky is seen along with blue. Sunrise in golden hues
looks splendid. Perspective has never been a main interest but depth is achieved as
styles evolved.
13. Effect of Folk Art and Mughal influence: Folk Art is prominent in all Rajasthani
paintings before they got influenced by Mughal art in later stages. During the initial
phase, figures are smaller in proportion to the faces, but as they progressed, bodies
became more robust and complexion became more Indian.
14. Night Scenes: Night scenes are painted in a very attractive way. Black or smoke grey
colour of the night sky lends beautiful contrast to the white and yellowish golden
colour of the Moon and Stars and colorful foreground of human figures.
15. Large Paintings: In comparison to other paintings of Rajasthan, the Kishangarh
paintings are larger in size known as Pichwayi (Back Curtain). These were used for
plays at the back, but in Bikaner school we find both miniature and wall paintings.
16. Hunting Scenes: Depiction of Animals and Birds being hunted has been done as the
effect of Mughal School of Art.
17. General life: Art was not restricted to the royalty only, the themes of religious,
romantic and social life had reached the masses as well. Daily life activities, festivals,
village life, marriage procession etc. Were also painted.
18. Crowded Scenes: In some paintings like ‘Govardhan Dharan’ (Krishna lifting Mount
Govardhan) men, women and animals have been painted in large numbers.
 19. Architecture: Palaces are domed, brickwork and marble both appear in buildings.
White lattice in mughal style is also noticed at places.

PAHARI SCHOOL
Time Period- 17th to Mid 19th Century

Locations- Himachal Pradesh, Some adjoining areas of Punjab, the Area of Jammu in Jammu
& kashmir State and Garhwal in Uttar Pradesh, now in Uttaranchal.

Defination
Pahari denotes “Hilly or mountanious” in origin.

Origin and Development

• The Pahari region developed and flourished from about the 17th to the 19th century in
the present-day State of Himachal Pradesh.
• This Pahari region then divided into twenty-two small states was ruled by Rajput kings
who were often engaged in war, but they were great connoisseurs of all arts.
• Some scholars believe that Mughal artists may have migrated to Basohli due to the
cruelty of Aurangzeb. He hated painting and music. Therefore, most of the Mughal
artists moved to the hills where they found shelter and there, they invited a different
new style of painting known as Pahari miniature painting.
• Pahari miniatures are known for their serenity, lyricism, spontaneity, natural
symbolism, minute details, superb sense of composition and deep Sense of
expressing human expressions.
• Pahari art is a creative combination of Gujarat manuscripts, local folk art, Mughal style
and Rajasthani art of first half of the seventeenth century which had already absorbed
the styles of Akbar, Jahangir and Shahjahan periods.

Themes
• The beauty of nature in these mountains inspired the artists of these mountains and
they both seem to celebrate the glory of the themes of love.
• As a result pure Hindu art-with both Shaivite and Vaishnavite themes evolved here.
• The finest group of miniatures done in Pahari region is represented by the famous
series of the Bhagavata, the Gita Govinda, the Bihari Satasai, the Baramasa and the
Ragamala, painted in 1760-70 A.D.
• The poetry of Surdas, Tulsidas and other poets of that era saw fusion of literature and
painting. The fusion of music and painting in ragmala paintings beat all standards set
so far in other Rajput schools.
• The beauty of landscapes in trees, hills and lakes surrounded with flowers enhanced
the beauty of its nayikas in nayika bheda be it union, anticipation or regret.
 • The spiritual love of God and soul in personification of Krishna and Radha is
unparalleled.

Features
• Its main features are use of strong and contrasting colours, monochrome background,
large eyes, bold drawing, use of beetle’s wings for showing diamonds in ornaments,
narrow sky and the red border are observable in this miniature.
• The painters are masters in expressing the beauty of nature and women, The outline of
a woman’s face along with having a straight nose according to the forehead is the most
unique feature of this style.
• The most popular themes that were painted were Bhagavata Purana. Gita Govinda,
Nala Damayanti, Bihari Satsai, Ragamala and Baramasa.
• These paintings are done on handmade paper, which is made of bamboo, cotton, and
other materials. These are known as the “Sialkoti Papers”.

Sub-School of Pahari School

1. Basohli School of Art 2. Guler School of Art

3. Kangra School of Art 4. Kulu-Mandi School of Art

5. Jammu Kashmir School of Art 6. Garhwal School of Art

7. Punjab School of Art 8. Chamba

BASOHLI
• Basohli is a town in Kathua district the Indian state of Jammu and Kashmir. It was
founded in the 16th century by Raja Bhupat Pal.
• The earliest Pahari school of miniature painting is Basohli. The Pahari art that
originated in Kangra under Raja Sansar Chand is identified with a new level of rhythmic
elevation.
• The earlier centre of painting in the Pahari region was Basohli where under the
patronage of Raja Kirpal Pal, an artist named Devidasa executed miniatures in the form
of the Rasamanjari illustrations on 1694 A.D.
• The illustrations of the two Rasamanjari series are scattared in a number of Indian and
foreign museums.

Techniques
The Basohli style of painting is characterised by vigorous and bold line and strong glowing
colours Primary colours are used here.

Color Scheme
The drawing is bold and forceful and the colours are strong and contrasting. The yellow
monochrome background used in the miniature enchances the emotional intensity of the
scene.

Characteristics
• A peculiar Basohli characteristic seen in miniature is the use of dark green Beetle
wings to indicate green jewels in ornaments and raised white paint to show pearls.
• The sky is shown as a narrow band of blue and white at top.
• The miniature is framed in a border of brilliant red colour.

Themes
• An illustration from a series of the Gita Govinda painted by artist Manaku in 1730 A.D.
shows further development of the Basohli style.
• The miniature which is the collection of the National Museum, depicts Krishna in the
company of gopis in a grove on the bank of a river.

Features
• There is a change in the facial type, which becomes a little heavier and also in the tree
forms, which assume a somewhat naturalistic character, which may be due to the
influence of the Mughal painting.
• Otherwise, the general features of the Basohli style like the use of strong and
contrasting colours, monochrome background, lure eyes, bold drawing, use of beetles
wings for showing diamonds in ornaments, narrow sky and the red border are
observable in these miniatures.

2. Guler
• The last phase of Basohli style was closely followed by the Jammu group of paintings
mainly consisting of portraits of Raja Balwant Singh of Jasrota (a small place near
Jammu) by Nainsukh, an artist who originally belonged to Guler but had settled at
Jasrota.
• At Guler, another state in the Pahari region, a number of portraits of Raja Govardhan
Chand of Guler were executed in circa 1750 A.D. in a style having close affinity with
the portraits of Balwant Singh of Jasrota. They have been drawn delicately and have a
bright and rich palette.

Themes
• The finest group of miniatures done in the Pahari region is represented by the famous
series of the Bhagavata, the Gita Govinda, that the Bihari Satasai, the Baramasa and
 the Ragaamala, painted. The exact place of origin of these series of paintings is not
known.
• An illustration from the famous series of the Bhagavata painted in the Güler style is in
the collection of the National Museum.
• In this miniature Krishna is shown killing a demon Vatsasura on the bank of Yamuna.
• The gopas and cows appear terrified and a tree has been uprooted by the violent
movement of the demon who comes in the guise of a calf to kill Krishna.

3. Kangra
• The Guler style was followed by another style of painting termed as the "Kangra style",
representing the third phase of Pahari painting in the last quarter of the 18th century.
The Kangra style has developed out of the Guler style.
• The Kangra style continued to flourish at various places namely Kangra, Guler, Basholi,
Chamba, Jammu, Nurpur and Garhwal.
• Paintings of the Kangra style are distributed mainly in the Nainsukh family i.e., sons and
grand sons of Nainsukh and his brother Manku.

Characteristics
• Kangra possesses the main characteristics of the Guler style, like the delicacy of
drawing and quality of naturalism.
• The main phases of Kangra style were in Alampur followed by Tira Sujanpur which saw
its peak and last was at Nadaun which was most mature.
• The name of Kangra style is given to this group of painting for the reason that they are
identical in style to the portraits of Raja Sansar Chand of Kangra.
• His period is considered to be the Golden Period of Kangra School.

Features
• In these Paintings of Kangra paintings, the faces of women in profile, have nose Almost
in line with the forehead, the eyes are long and narrow and the Chin is sharp.
• There is, however, no modelling of figures and hair is treated as a flat mass.

Themes
• Love was the principal theme of Kangra miniatures which included Rasikpriya by
Keshavdas and Romances like Sassi-Punnu, Heer-Ranjha and Sohni-Mahiwal.
• Ashta Nayikas or eight emotional states of Nayikas is an important work of Kangra sub-
school.
• Devi Mahatmya, Bhagwat Purana, Gita-Govind, Nala-Damyanti, Ragmala and
Baramasa.
 • The Main Patron Sansar Chand is recorded doing various activities like sitting by the
river side, at his court, watching dancers, etc.

Kulu – Mandi
• Along with the naturalistic Kangra style in the Pahari region, there also-flourished a folk
style of painting in their Kulu-Mandi area, mainly inspired by the local tradition.
• Kullu emerged with a unique style. These paintings are quite different from other
paintings painted in the Pahari sub-school.
• The rulers of Mandi were great worshippers of Vishnu and Shiva. Therefore, apart from
Krishna Leela, these Shiva subjects were also painted.

Techniques
• Bold drawing and the use of dark and dull colours mark the style.
• Though influence of Kangra style is observed in certain cases yet the style maintain of
distinct folkish character.
Themes
• A large number of portraits of the Kulu and Mandi rulers and Miniatures on other
themes are available in this style.
• A miniature from the series of the Bhagavata in the collection of the National Museum
was painted by Shri Bhagwan.
• Illustrations show Krishna lifting the Goverdhana mountain on his little finger to save
the people of Gokula.
• Theme Another example of the Kulu painting is of two girls flying kites. The girls are
wearing the typical costumes and ornaments, which were worn, in the Kulu region at
that period. Two flying parrots indicate sky in a symbolic manner.
Color Scheme
• The dark clouds and rain in the form of white dotted lines are shown in the background.
• The drawing of figures is bold though rather stiff.
• The painting has a yellow floral border.
• In these paintings, red, dark grey, black, and blue colours have been heavily used to
give a mysterious appearance to the goddess.

5. Garhwal
• Garhwal style has a very close similarity to the Kangra style which itself is an offshoot
of Guler.
• A distinctive style of Garhwal evolved as a result of strong Guler influence after a few
marital alliances between the rulers of both the regions.
 • The paintings depict the scenic beauty of local river and hills. The peaceful setting in
the backdrop of beautiful figures in the romantic compositions bring the nostalgia of
peace and simplicity that prevailed in India before all external invasions.
Themes
• Nayak-Nayika Bheda is widely painted, Varsha Vihara a painting of Radha Krishna in
rain is also worth mentioning.
• Other subjects are Geet Govind, Krishna-Sudama story, Ramayana and Mahabharata,
Krishna leela etc.

Features
• The special features of the Garhwal School of painting include extremely beautiful
women with fully developed breasts, a thin waist line, delicate eyebrows, and
captivating thin nose on a gentle oval shaped face.
• Ornaments and jewellery are painted with intricate details.

6. Chamba
• Basohli style of Pahari paintings took roots in Chamba with artists migrating here in the
eighteenth century after the decline of Kangra school.
• Raja Udai Singh, Raja Raj Singh and Raja Umed Singh patronized this school of painting
where portraits and Hindu legends took priority.
• During the reign of Raja Charhut Singh, art reached the masses and folk art influence
increased.
• The paintings of Chamba cover in its miniatures the effect of folk art, murals and the
Mughal influence.

Themes
• The paintings were generally painted with Hindu religious themes, particularly the
legends of Hindu mythology such as Radha Krishna, Shiva-Parvati, Yashoda and
Krishna, Gopis, Krishna Sudama, Durga Saptashati, love scenes and birds and
animals.
• Main painters of the school are Nikku from Basohli, Durga and Lehru.

CHARACTERISTICS OF PAHARI SCHOOL

1. Diverse Sub-matter: The illustrated subject matter can be broadly divided into the
following three categories:
(i) Religious: Both Shaivite and Vaishnavite religions can be found as
themes though the previous one was lesser, as Vaishnavism had taken
over. In Garhwal again rulers were more inclined towards Shaivism.
 Ramayana and Mahabharata, Shiva-Parvati, Durga Saptashati,
Bhagwat purana are illustrated.
(ii) Romantic: Nayak-Nayika Bheda, Geet govind, Behari Satsai and
Ragmala paintings.
(iii) General: Portraits, Royal court scenes, general life, Barahmasa,
Festivals and fairs.
2. Linear Beauty: One of the main features of Pahari paintings is linear beauty.
Rhythm and smoothness have been added to the figures through fine lines by
means of squirrel hair brushes. The Ajanta like expression of emotions and finest
lines that have been used in the drawing of eyes. Jewelry and other details are also
praise worthy.
3. Description of Nature: Trees, clouds, water, jungles, etc. have all Been depicted in full
charm in Pahari School. The depiction of landscape consists of mountains, beautiful
flowering trees, rivers and tanks teeming with lotus flowers and aquatic birds. In the
sky, rainy season, clouds, lightening and rain etc. are nicely painted. Creepers
symbolise union and hillscapes add to the beauty and romance. People sitting around
fire during winter and people playing holi in summer signify seasons.
4. Female figures: The faces of women in profile have the nose almost in line with the
forehead, the eyes are long and narrow and the chin is sharp. The faces in Basohli
school of Art have got originality of style of their own. The women don’t look very
feminine in Basohli and are a little short but soon in Kangra their beauty gets its due
They have been shown with round face, backward sloping forehead with nose falling in
the same line, large expressive eyes, almond colored bodies and shapely bosom The
traditional idea of the ideal womanhood in maintained with clothes and ornaments
carefully complementing them.
5. Garments and Ornaments: Choli, Lehanga and transparent Chunnis were generally
worn by the women. They are generally wearing traditional adornments like Necklaces,
kum-kum, anklets, bangles and rings. The males have been shown wearing Angrakha.
Pajama and turban. Krishna has always been shown wearing pitambar (yellow
garments). A peculiar Basohli characteristic seen in miniature is the use of dark green
Beetle wings to indicate jewels in ornaments.
6. Romantic Scenes: A lot of romantic scenes are found in Basohli and Kangra paintings.
Due to the social and moral restrictions prevalent in Rajput families where the
expression of love is concealed, love in paintings is freely expressed be it union,
separation or dejection. Krishna symbolises God and Radha is the soul that goes
through so many obstacles to meet the almighty. Sensual scenes depicting union are in
plenty.
7. Hand gestures: Long tapering fingers, delicate hands and Ornamented arms are used
by artists to convey the expressions and emotions. It is a quality prevalent due to
strong heritage of classical dance where mudras play an important role, this feature is
seen in all Indian art forms starting from Ajanta.
8. Stylization: The nature has been painted in ornamental style Symmetric ornamentation
of trees has a folk influence. Artist worried about beautification only, naturalism was
never his concern.
9. Colours: Mostly bright Primary colours red, blue and yellow have been used. Some
mixed colours like pink, green, mauve and grey have also been beautifully used. They
are also symbolic, red and yellow for love and passion, blue for Krishna and bluish
clouds for final culmination of love.
10. Portraiture: The faces are repetitive initially but improve subsequently as a result of a
careful study of expression for each and every character. Faces full of life, emotions
and moods are clearly depicted.
11. Depiction of animals and birds: All the themes like Ragas, Raginis, Rasmanjari.
Bhagavata, the Geet-Govinda, the Bihari Satasai, the Baramasa and the Ragamala,
have been painted with animals and birds like deer, swans, cows, elephants and
cranes etc. A crow near heroine symbolises that the hero is expected and she is
blushing with charm, a couple of ducks stand for union and peacocks for nearing
clouds and rain.
12. Use of Gold and Silver Colours: The colour scheme is brilliant and golden colour is
used lavishly. The sky is painted as a narrow band of blue and white at the top. The
colours are strong and contrasting. The use of gold and silver colour in the design of
garments and ornaments adds to the glamour as well as realism. Moonlight in silver
creates a diffused glow. Lightening is painted with silver, golden is used in utensils,
palaces, metal and furniture etc. These colours don’t stand out but blend beautifully.
13. Use of Borders: In some Pahari paintings, we find ornamental borders of Mughal style.
The red and yellow borders are worth noticing in these miniatures.
14. Paintings are based on Folk Art: The symmetrical ornamentation of nature specially
trees has a typical folk influence. This is specially found in Basohli which later
decreased in Kangra.
15. Architecture: Marble palaces, decorated gates, window lattice, carved domes etc are
in mughal style. Carpets and curtains too have similar designs. The interior with wine
cups, vases and trays show the royal finesse.