Pahari Paintings: Jammu -- Jasrota -- Kangra -- Kulu -- Mandi -- Mankot -- Nurpur -- Bilaspur

Pahari Paintings 

Jammu 

The painting traditions of Jammu in the late 18th century and early 19th century showed close resemblance with the Kangra type. Recent research has indicated that Shangri Ramayana of the late 17th and early 18th centuries was produced in Jammu and not in Kangra as it was earlier believed to be. 

Jasrota 

Jasrota, located in Jammu and Kashmir, saw some noteworthy works of art executed by Nainsukh of Guler. Under Raja Balwant Singh (1724-63) , Nainsukh produced portraits, court scenes, events from the prince’s life as well as allegorical scenes. 

Kangra

In the second half of the 18th century, Kangra style characterized with the lyrical and refined qualities developed. Under Maharaja Sansar Chand, Kangra became the main center of Pahari Painting. Artists from the family of Pandit Seu produced finest works of art in this school. Bhagavata Purana, Gita Govinda, Nala Damayanti, Ragamala, and Satsai (Seven Hundred verses) were some of the notable works of art. Sansar Chand also commissioned many durbar scenes of himself and his nobles but these were in a stiffer and formal style. 

Kulu

A series of portraits of the Kulu rulers have been executed outside Kulu. Shangri Ramayana dated 1690 –1710 ascribed to Kulu, exhibited four distinct styles. However, new scholastic research indicates that this work was not produced in Kulu but at Jammu. The other notable works of art were a Bhagavata Purana and two Madhumalati manuscripts. 

Mandi

Mandi, a small kingdom south of Kulu saw the emergence of an individualized style under Raja Sidh Sen ( 1684-1727). Portraits patronized by him depicted the ruler as a gigantic figure with exaggerated enlarged heads, hands and feet. The same painting tradition continued in the reign of his successor Shamsher Sen (1721-81). It is interesting to note that both the rulers have been depicted as incarnations of Shiva in the paintings commissioned by them. 

Mention must be made of Sajanu, an artist who produced splendid work characterized by geometric compositions and delicate naturalistic details. 

Mankot 

Painting traditions at Mankot located in Jammu and Kashmir closely resembled to the Basholi type. Portraitures were common in the mid 17th century. The paintings in this region were characterized with the use of bright colors and boldly rendered subjects. Bhagavata Purana and Ramayana were few of the significant works of this region. In the later period the style showed greater naturalism and use of muted colors. 

Nurpur 

Nurpur, in Himachal Pradesh can be described as a stopover between Chamba and the Punjab plains. Chamba painters often stayed there, which resulted in cultural exchange between their counterparts at Nurpur. This is manifested in the certain common idioms used in the paintings of both regions. One of the earliest paintings was of the ruler and his brother at worship. This work carried a strong Mughal influence. The Nurpur style employed bright colors and mostly flat backgrounds. However in the later period the paintings used muted colors. 

Bilaspur

Bilaspur, situated in Himachal Pradesh saw the rise of the paintings in the mid 17th century. The earlier paintings were portraitures that were succeeded by illustrations of the Bhagavata Purana, Ramayana, and Ragamala series in the 18th century. Besides these, painters at Bilaspur also executed paintings on rumal (coverlets) for rituals and ceremonies.