Pahari Miniature www.craftcanvas.com
Craft Manual by
Table of Contents • About Us • Introduction • Mythology • Material Used • Process of Pahari Miniature • Motifs • Additional References • Image Source
www.craftcanvas.com
Craft Manual by
About Us CraftCanvas is a link between rural artisan communities and the urban customer, translating an ages old craft into something that is relevant today. It is based on the idea of contemporizing Indian Handicrafts through a common platform and canvas where stake holders of the craft community like artisans, designers, craft practitioners, etc can come together to create unique products and experiences suited to modern day living. India has a rich handicraft heritage and we owe this to generations of artisans who have blended tradition, religion, social norms and functionality to bring craft where it is today. However, there has been a significant shift in sensibilities of present-day craft patrons thereby highlighting a need for Handicrafts to adapt to these changes. We believe that there is a place for India’s traditional crafts even in the most modern of spaces and this process of evolution is what CraftCanvas facilitates. Handicraft patrons like you can express your requirements ranging from wall murals, soft furnishings, paintings, furniture and lighting among many others. Our team will assist you in transforming their ideas and aesthetic preferences to final products with a high level of artistry. On the other end, we are constantly forming collaborations between the craft and design community through which an interesting blend of experiences and products are developed. Working with designers, traditional artisans are trained to adapt to this new design scenario. For designers, it gives them an opportunity to create solutions that embody the essence of the craft. Subsequently, these innovations are marketed by CraftCanvas through channels like online store, workshops, exhibitions etc. Please feel free to browse through our site for specific information on our various initiatives and we look forward to welcoming you to our world of crafts.
www.craftcanvas.com
Craft Manual by
Introduction
Gopis searching for Krishna, BhagavataPurana, c1780. Opaque watercolor and gold on paper
A new style that was developed in the Himalayan foot-hills of Punjab, Garhwal and Jammu is known as “PahariQualam� or Pahari School of painting. The local folk art form of this area was influenced by painters of Mughal court when they took shelter in the Hindu states of this area due to invasion of Nadir Shah. PahariQualam is a beautiful combination of natural beauty of this region and the glamour of Mughal court of Delhi. It is known for their soft touch, serenity, lyricism, spontaneity, inherent symbolism, superb sense of composition, minute details and a deep feeling for human emotions. Under the patronage of the small kings of the hill-states, it spread through Jammu to Tehri and Pathankot to Kullu. The painters maintained the indigenous style in spite of the Mughal influence. The Pahari School narrates Indian mythological and religious stories. Portrait paintings were also very popular among the patrons of this school. Though the characters are from Hindu religious stories, they are sometimes shown in Mughal costumes. The artists of Jammu, Kangra and Guler combined the best aspects of Mughal and Rajasthan styles. The main centers for Pahari School were Basholi, Guler, Kangra, Chamba, Mandi, Kullu, Bilaspur, Jammu, Nalagarh, Garhwal, Kashmir, Dharamshala etc. www.craftcanvas.com
Craft Manual by
Mythology
Kangra style, Pahari: Sage Narada requests Valmiki to write the story of Rama, early 19th century, opaque watercolour and gold on paper, National Museum, New Delhi, India
No “Pahari” school of art originated in “Pahar” or hills. This art was practiced by artists and the families of artists who had migrated from other areas to the hilly region of north western India seeking patronage of the feudal chiefs and princes. Rajasthan traditionally produced miniature paintings long before miniature painters came to the hill area of north western India. In each area, the artists used locally available materials to make the colours. In each place, repetitive artworks were done by the students of established masters called Shailis or schools of art. Persia has a rich tradition of miniature painting and artists from Persia came to Mughal courts and worked there in their own way. They introduced their own way of painting miniatures and influenced the trend of miniature painting that was patronized by the Mughal court. At any time of history, when due to political uncertainty, turmoil or any other reason, the artists lost the patronage of the feudal rulers, the artists migrated to other kingdoms or fiefdoms in the hope of new patronization. The credit to begin the Pahari style of paintings goes to Rajah Kripal Pal (16781731), of Basohli, who was the first patron in the region. www.craftcanvas.com
Craft Manual by
Materials Used
Pahari Miniature colours
Miniature paintings were done on handmade paper made of bamboo, cotton and other locally available materials. These are popularly known as ’Sialkoti’ paper. After the lines are drawn on the paper, it is given a coat of white colour. The surface of the paper is polished by rubbing a smooth stone on it. The painters also used stencils to reproduce more copies of the painting.
www.craftcanvas.com
Craft Manual by
Process of Pahari Miniature
Process of Pahari Miniature Painting
The artists of Pahari paintings had a similar and consistent style. They all followed uniform methods and their techniques were simple and indigenous. The sheets of handmade paper were joined together to get the desired thickness. The outlines were drawn in light reddish brown or grey-black colors and then a very thin and transparent coating was applied on the sketches. Finally on white coating the colors were filled. The colors used in the miniatures were derived from minerals, vegetables, precious stones, indigo, conch shells, pure gold and silver. The preparing and mixing of the colors was an elaborate process and it sometimes took months to get the desired color. Very fine brushes were used for the paintings. For brightness, the painting was burnished with boulder or river stone called golla. The natural color pigments from mineral and vegetable sources were mixed in water and gum for binding the paints. The artists used the brushes generally made of the hair of horse, squirrel, camel etc. and the peacock feather was used as a pencil.
www.craftcanvas.com
Craft Manual by
Motifs The Pahari paintings have different schools or styles, because they had several patrons like the rulers of Basohli, Guler, Kangra, Chamba, TehriGarhwal,
Nurpur, Mankot, Mandi, Kullu, Bilaspur etc. Basohli
The facial features of well modeled natural figures in the early Basohli paintings have oval shapes, receding foreheads and large passionate eyes resembling the petals of lotus. These paintings have soft, vivid, harmonious and bold colors. They present the stylized landscapes, circular trees with simple and unique composition. The section and figures of the architecture are often painted separately in square frame which make the paintings simple but unique and attractive. Geometrical patterns, bright colors and glossy enamel characterize Basohli paintings.
Basohli initiated Pahari art by illustrating literary classics like Rasa Manjari, Ramayana and Gita Govinda and abstract theme like Ragamala. Square format, a background usually consisting of double storey building structures with elaborate shikharas, lotuses and various other decorative elements characterize a Basohli miniature. www.craftcanvas.com
Craft Manual by
Guler
Guler has the longest tradition in the art of painting and is also known as birthplace of Kangra paintings. In fact, the Guler style of paintings is the early phase of KangraKalam. About the middle of the eighteenth century some Hindu artists trained in Mughal style sought the patronage of the Rajas of Guler in the Kangra Valley. There, they developed a style of painting which has a delicacy and a spirituality of feeling. The Guler artists had the colors of the dawn and the rainbow on their palette. Guler painting is marked by liquid grace and delicacy. The drawing is delicate and precise. Subject matter of these miniature paintings are Bhagavata, the Gita Govinda, Bihari Satasai, the Baramasa and the Ragamala. The style of these paintings is naturalistic, delicate and lyrical. The female type in these paintings is particularly delicate with well-modeled faces, small and slightly upturned nose and the hair done minutely. The paintings attributed to the Guler style are endowed with exceptionally delicate colouring, fine draughtsmanship, unusual refinement of lines and a sensitive treatment of landscape. In both, portraiture and composition, the Guler art wondrously explores the mystic beauty of feminine world. Guler miniatures are as delicate as Mughal miniatures, but the feeling that a Guler miniature breathes is different from what a Mughal miniature does. www.craftcanvas.com
Craft Manual by
Kangra
The Kangra style had strong points like the steady brush strokes, selective use of seven colors, pleasing features, well-built beautiful people, different expressions and a wide range of objects. The use of seven colors is a prominent feature of Kangra School. . In these paintings, 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.
Guler style was followed by the third phase of Pahari paintings i.e. Kangra style. It developed in the last quarter of the 18th century. The Kangra style possesses the main characteristics of the Guler style, like the delicacy of drawing and quality of naturalism. The name 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. Kangra Paintings depict verdant greenery, where depiction of flora is made noticeable by the use of multiple shades of green. Shringar (the erotic sentiment) is considered as the focal theme of Kangra paintings. The subjects seen in Kangra painting exhibit the taste and the traits of the lifestyle of the society.
www.craftcanvas.com
Craft Manual by
Feminine figures are depicted very beautifully in these paintings with soft and refined facial features. Kangra paintings are known for the lyrical blending of form and color. Colors made of vegetable and mineral extracts are used by the artists. Use of primitive colours red, yellow and blue, fine borders, whether plain or decorative, carefully brushed jewellery, neatly laid buildings and richly relieved landscape balanced with contrasting colours and consisting of superbly treated nature trees, leaves, flowers, shrubs, birds and hills, are attributes of Kangra art.
Kangra art attained its zenith during the reign of Raja Sansar Chand. Portraiture was the dominant art mode and the most authentic example of his court art. The portraits of this period have exceptional artistic merit and reveal great technical maturity. They depict the splendor and the glory of the court of Raja Sansar
Chand. Love was the principal theme of Kangra miniatures and, hence, Rasikapriya, the great poetic work of Keshavadas, was, to Kangra artists, their chosen theme. In Radha and Krishna, they discovered not only the highest model of a loving couple or those of Nayika and Nayaka, but also various emotional and sensual situations. The Radha Krishna theme also served their devotional purpose and provided an inherent symbolism. Led by this love cult, Kangra art also illustrated romances like Sassi Punno, Heer Ranjha, and Sohni Mahiwal. Chamba The albums of fine paintings of Hindu myths, legends and religious themes of Ramayana, Bhagavata Puranas , Bara Masa Ragmala Series, Radha Krishna, Durbar of lord Rama, The Gopis, the love scenes, birds and women were commissioned and produced in Chamba. The Mughal influence in paintings and murals of Chamba are clearly visible. These paintings depict the game of lines, brightness of Basohli colors and extravagant decoration. The romance in monsoon season is the favorite subject which has been painted in various moods, styles and colors.
www.craftcanvas.com
Craft Manual by
The series of paintings of six episodes or Kaands of Valmiki’s Ramayana adorn the Bhuri Singh Museum. They are the Balkaand, Ayodhyakaand , Aranyakaand, Kishkindakaand, Sunderkaand and Lankakaand. Durga Saptshati too has been depicted and a painting related to the birth of Luv Kush is also there. One painting shows Saint Narada in the court of a king. The Chamba paintings are known for their finesse in naturalism, freshness in colors and delicacy in execution.
Chamba is known for its typical and distinctive female figures endowed with the most charming looks. Red and blue dominate a Chamba miniature. Chamba is outstanding in its technique of artistically mixing colours and amplifying their visual impact. Nurpur
Nurpur paintings of Himachal Pradesh usually employ bright colors and flat backgrounds. However, in the later periods, the dazzling colors were replaced by muted ones. They are characterized by tall women who have long limbs particularly below the waist and are always elegantly attired.
www.craftcanvas.com
Craft Manual by
Garhwal
The paintings in Garhwal style, an offshoot of Kangra School generally depicts the leafless trees. Garhwal Paintings originated in Himachal and were first dominated by the Mughal style. Later, it reflected the cruder version of Kangra traditions. In subordinate Pahari art styles, Garhwal miniatures are known for the same softness of colours and delicacy of beauty as have the miniatures of Guler. Fog like tender clouds and sensitively treated nature are typical of Garhwal. Mandi Along with the naturalistic Kangra style in the Pahari region, there also flourished a folk style of painting in the Kulu-Mandi area, mainly inspired by the local tradition. The style is marked by bold drawing and the use of dark and dull colors.
Mandi, situated in Himachal, witnessed the evolution of a new style under Raja SidhSen (1684-1727). During that time, the portraits depicted the ruler as a massive figure with overstated huge heads, hands and feet. Other works were characterized by geometric compositions and delicate naturalistic details. www.craftcanvas.com
Craft Manual by
Mandi, with a stylistic idiosyncrasy of its own and a greater thematic thrust, acquired a great distinction in Devi's Tantrika cult. Various tantrika innovations of Devi, usually rendered in crude awe-inspiring form, constitute the prime theme of Mandi miniatures. The Devi forms acquire further impetus in Mandi style by the excessive use of black, red and blue colours in their deepest tones. Mankot
Mankot paintings of Jammu and Kashmir bear a resemblance to the Basohli type, with vivid colors and bold subjects. In the mid 17th century, portraitures became a common theme. With time, the emphasis shifted to naturalism and subdued colors. www.craftcanvas.com
Craft Manual by
Kullu
The paintings of Kullu style include a Bhagavata Purana, two Madhumalati manuscripts, etc. Bilaspur
Bilaspur town of Himachal witnessed the growth of the Pahari paintings around the mid-17th century. Apart from the illustrations of the Bhagavata Purana , Ramayana and Ragamala series, artists also made paintings on rumal (coverlets) for rituals and ceremonies.
Hindur or Nalagarh in Bilaspur district sought its distinction in narrative subjects and in highly evolved symbolism. Well defined faces and costumes endowed with great realism, where each figure has its own distinct features and lifestyle, are specialties of Hindur art. www.craftcanvas.com
Craft Manual by
Jammu
Jammu paintings of the late 18th and early 19th century bear a striking similarity to the Kangra style. Shangri Ramayana of the late 17th and early 18th century was produced in Jammu itself. Conventional hills, strained nature, stylised human figures characterise Jammu art. The elegantly bejewelled and costumed Jammu men and women are tall and slim and have sharp features. Light colours used in brighter tones are characteristic of Jammu art style. Patiala in the Punjab plains has yet another Pahari substyle. It is largely influenced by Sikh life in costumes, choice of colours, features and style of beards and moustaches. Mankot, Bilaspur, Kullu, Nurpur, Kashmir, Lahore and a few other minor centers also pursued art activities but with little distinction.
www.craftcanvas.com
Craft Manual by
Additional References
• • • •
http://blog.artoflegendindia.com/2010/12/pahari-school-of-paintings.html https://en.wikipedia.org/wiki/Pahari_painting http://www.himachalstatemuseum.in/d1.html https://www.worldwidejournals.com/paripex/file.php?val=October_2015_144 6530408__75.pdf • https://docs.google.com/viewer?a=v&pid=sites&srcid=YnVrd2l0LmNvbXxid Wt3aXR8Z3g6MjA2ZTMzMThkOGJhYjQxOA Image Source • http://indiapicks.com/Indianart/Images_MP/Chamba_Rukmini_Elopement.jp g • http://indiapicks.com/Indianart/Images_MP/Guler_Bharata_Paduka.jpg • http://indiapicks.com/Indianart/Images_MP/Basohli_Krishna_Gopikas.jpg • http://indiapicks.com/Indianart/Images_MP/Mandi_Shangri_Rama_marriage.j pg • http://indiapicks.com/Indianart/Images_MP/Kangra_Raga_Bramarananda.jpg • http://indiapicks.com/Indianart/Images_MP/Garhwal_Radha_Krishna.jpg • http://indiapicks.com/Indianart/Images_MP/Kullu_Krishna_Flute.jpg • https://kalacafe.wordpress.com/tag/rajasthan-handicrafts/ • http://shop.gaatha.com/buy-old-copy-mugal-Miniature-painting-rajasthan
www.craftcanvas.com
Craft Manual by
Designed by Surpritkaur Dang www.craftcanvas.com
Craft Manual by