Art of the Hills
Select paintings of the Pahari School of North India (1700 - 1950) from Salar Jung Museum, Hyderabad, India.
The 'Pahari' idiom
Pahari painting was patronized by the Rajput kings who ruled many parts of the region in the cool sub-Himalayan India, through Himachal Pradesh, previously called hill states of Punjab and Uttar Pradesh, which gave birth to a new idiom in Indian painting. Art Historian Ananda Coomaraswamy clubs the School with Rajput painting. Pahari painting, means a painting from the ‘hilly’ regions, (pahar means hill), which during 17th-19th century were notably Basohli, Mankot, Nurpur, Chamba, Kangra, Guler, Kulu-Mandi, and Garhwal known for their painting styles.
Rajput patrons
During the Mughal rule, there was interaction between the Rajput rulers and the Mughal court; the local rulers even engaged in wars carried out by the Mughal emperors, some of them being their vassals. They were also influenced by the artworks produced in the Mughal court and encouraged their own artists. A new beginning of a Pahari School was made. Many Mughal artists migrated to Rajasthan and the hilly regions when royal patronage reduced in the second half of the 17th century at the Mughal court. In spite of a war-like political situation which prevailed initially, the school flourished and flowered under better patronage in the succeeding generations. Under rulers like Raja Govardhan Chand, Prakash Chand(seen in the image), Sansar Chand, Kirpal Pal and Chattar Singh the School developed and is widely known for its lyrical beauty and enchanting colour schemes.
Across the hills
The Pahari School flourished stretching from Jammu to Garhwal. Ranging from bold intense Basohli painting, from Jammu and Kashmir, to the lyrical Kangra paintings, which became representative of the style before other schools developed, to the poetic representations in paintings from Garhwal. The Kangra style reached its peak with paintings of Radha-Krishna, inspired by Jayadeva's Gita Govinda. The paintings from all Schools leave a sense of beauty, charm and lyricism in the mind, to the delight of the viewer.
A rich repertoire
The Pahari Schools had a large canvas for the content of the paintings. They included a variety of themes in their rich repertoire. The epic Ramayana, the text Bhagavata Purana, Shiva-Parvati, Radha-Krishna, texts like Rasikpriya, Rasamanjari, Gita Govinda, courtly scenes, portraiture of the rulers, Nayaka-nayika bheda, Barahmasa and Ragamalas were all illustrated by the Pahari artists (illustration here is that of Bhairavi Ragini ). The paintings are now in many collections across the world.
The Museum collection
The collection of Pahari School of miniature paintings in the museum is rich and interesting. The themes are diverse. There are paintings of Ramayana and the Bhagavata Purana. There are Radha-Krishna paintings, Ragamalas and Nayaka-nayika bheda, Rasikpriya themes and portraits among others. The sub schools are also diverse such as Basohli, Bilaspur, Chamba, Guler, Kangra, Garhwal and Mankot. Some drawings are also part of the collection on different subjects.
Let us take a journey through the hilly regions of sub-Himalayan India, mostly during the 17th to 19th century, when these artworks were created and delight in the same, while understanding this unique lyrical School of painting from North India.
Lord Shiva and Goddess Parvati on Kailasa (1700/1799)Salar Jung Museum
Lord Shiva and Goddess Parvati on Kailasa
A detailed painting of Gods worshipping Lord Shiva and Parvati, seated on a lotus throne under a tree. Devotees holding fly-whisks and trays standing behind them. Ravana, Ganesha, Brahma and other gods and goddesses paying their homage. Animals are also taking part in the event happening on Mount Kailasa in this painting from Kangra, dated to mid 18th century.
Birth of Krishna (1700/1799)Salar Jung Museum
Birth of Krishna
Painting to represent various events that lead to the birth of Krishna. Lord Brahma and rishis approaching Lord Vishnu, when he was lying on Sesha with consort Goddess Lakshmi, Kamsa seen killing number of children. This miniature is from Nurpur dated to the late 18th century.
Yashoda and child Krishna (1750/1750)Salar Jung Museum
Yashoda and child Krishna
Painting depicting Yashoda and child Krishna in the precincts of a palace, watched by a seated man, his foster father, Nanda. Krishna is wearing a white garland and other head ornaments. Yashoda is chiding him for his pranks. This painting is from Mandi, dated to circa 1750.
Portrait of princess writing a love letter (1800/1899)Salar Jung Museum
Portrait of princess writing a love letter
A princess is writing a love letter while her maid is standing behind her. Both the figures are in profile; colour scheme comprises dark and light green, pale yellow, light blue, orange, white, silver and gold. A huqqa is shown in the corner, marble trellis on either side of the carpeted pavillion, trees in the backdrop. This miniature is from Guler/Kangra, dated to the 19th century.
Lord Krishna and Radha (1900/1925)Salar Jung Museum
Lord Krishna and Radha
Lord Krishna seated in a grove in dalliance with Radha whose arms are entwined around his neck. A river is flowing in the foreground. This miniature in Kangra style is dated to the early 20th century.
The Holy family (1900/1999)Salar Jung Museum
The Holy Family
A rare painting in an oval panel depicting Ganesha being bathed by Parvati with Lord Shiva pouring water standing under a tree. The Gods' vehicles are in the background, Subramanya is seated in front awaiting his turn in this miniature from Kangra, dated to the 20th century.
Seated lady holding a parrot (1700/1700)Salar Jung Museum
Seated lady holding a parrot
A well dressed noble lady seated on a settee with a bolstered back, holding a pet parrot in her right hand. This miniature is from Bilaspur dated to circa 1700.
Krishna with Radha and gopis (1700/1799)Salar Jung Museum
Krishna with Radha and 'gopis'
Lord Krishna and Radha with two gopi-s or cowherd maidens, Krishna's left arm is around Radha, two cows in the lower part of the painting. This miniature is from Chamba/Kangra, dated to the 18th century.
Seshasayi (1780/1780)Salar Jung Museum
Seshasayi
Lord Vishnu as Seshasayi with consort Lakshmi and Lord Brahma, a drawing from Kangra, dated to circa 1780.
Goddess Parvati on Lotus throne (1800/1825)Salar Jung Museum
Goddess Parvati on Lotus throne
Goddess Parvati is seated on a lotus throne with chatter and a bolster at her back under a canopy holding a goad in her right hand and a pasa, a rope weapon, in her left. Crescent moon on her forehead. Floral panels at the corners, floral blue band around this painting from Kangra, dated to early 19th century.
Full bloomed lotus (1780/1780)Salar Jung Museum
Full bloomed lotus
A painted panel, presumably the bottom of a wooden box, with a full bloomed yellow lotus in the centre, from Chamba, dated to circa 1780.
Raja Pritam Singh playing Holi (1770/1770)Salar Jung Museum
Raja Pritam Singh playing 'Holi'
Raja Pritam Singh playing Holi with his rani or queen and a lady attendant standing by her side, there is gulal or coloured powder in her odhni, the drape she uses to cover her head. The royal lady is about to throw gulal at the Raja. This miniature is from Kulu, dated to circa 1770.
Bride guided by old woman (1800/1899)Salar Jung Museum
Bride guided by old woman
A shy bride guided by an old woman to the door of a room, probably the bridal chamber. A lady holding a lantern in her right hand receiving them. Floral pattern in between flower creeper at the corners of the painting. This miniature is from Kangra, dated to mid 19th century.
Lord Shiva and Goddess Parvati on Kailasa (1700/1799)Salar Jung Museum
Seated Lord Shiva and Goddess Parvati
Lord Shiva and Goddess Parvati seated on a panther skin under a tree on Mount Kailasa. Son Ganesha is seated near Lord Shiva and son Subramanya is behind Parvati. Nandi is beside them. Mooshaka, peacock and tiger are seen, a devotee is paying obeisance. This miniature is from Chamba, dated to the18th century.
Raja Mia Kapoor Singh with musicians (1800/1800)Salar Jung Museum
Raja Mia Kapoor Singh with musicians
Raja Mia Kapoor Singh seated under a canopy enjoying huqqa. Three musicians are also shown, one playing a tambura, two others standing behind the Raja playing cymbals. An attendant is lighting the huqqa. This miniature is from Kulu, dated to circa 1800.
Battle-scene (1850/1850)Salar Jung Museum
Battle-scene
A scene at a battleground. Five tents are prominent in the encampment with the king and others discussing military strategy. This miniature is from Kangra, dated to circa 1850.
Vipralabdha Nayika (1700/1799)Salar Jung Museum
'Vipralabdha Nayika'
Vipralabhda nayika or one deceived by her lover, is one of the nayikas of 'Ashta Nayikas' in Indian literature. Here the nayika is shown standing under a tree in bloom with birds, and offering flowers and fruits to a small tree, and removing her arm jewellery, in a painting from Chamba, dated to the 18th century.
Text and Curation: Soma Ghosh
Photography: M. Krishnamurthy and Bahadur Ali
Research Assistance: Dinesh Singh and E. Rajesh
Special thanks to Dr. A Nagender Reddy, Director, Salar Jung Museum, Hyderabad, India.
References –
1. Khandalavala, Karl (1958) Pahari miniature painting, Bombay: New Book Company.
2. Rao, Bhaskar D (1996) Pahari miniatures in the Salar Jung Museum, Hyderabad, Hyderabad: Salar Jung Museum.
3.https://en.wikipedia.org/wiki/Pahari_painting (accessed 29.12.2021)
