Pahari painting [17th cent. -18th cent.]

Ancient tradition of painting had survived in modified form in Kashmir and the adjoining hill areas of the Punjab and U.P. These are collectively called Pahari paintings and mostly done in miniatures. Metcalfe was the first man to discover the Pahari paintings in Kangara. In beginning of this century Anand Coomarswamy further discovered these paintings and wrote articles regarding them. After exhibiting some of the paintings at Allahabad in 1910-12, he classified the Rajput School into 2 categories.

1) Rajasthani School 2) Pahari School.

As the distance between one little kingdom and another in the Punjab Himalayas was comparatively short, the artists and pictures travelled from one state to other frequently. The important places from where we got the Pahari paintings are Basholi, Jammu, Guler, Kangra, Chamba and Tehri Garhwal. They show the Mughal influence.

Basholi

It has earliest Pahari paintings.The figures have close resemblance with Jaina Kalpasutras which are two dimensional with fish shaped eyes.The subject matter”of the paintings are mostly of the princesof the region and illustration of Hindu religious books, like the Rasamanjari, Gita Govinda and Bhagwad Purana. Most of the paintings are based on the Krishna theme.

After Aurangzeb, the central Mughal authority weekened, and the Hindu princes in the secure hills gave patronage to local artisans and to the fleeing painters of the Mughal court. On their comparative isolation.These hill princes wished to celebrate their private lives, loves and vanities.

By the end of the 17th Cent. Basohii pictures began to be seen in nearby Mankot, Jammu, Jasrota, Chamba, Nurpur, and Guler. They were bought by local patrons and either copied or improved upon.

Guler

Under Raja Dalip Singh of Guler a similar style as that of Basohii appeared. The trees and buildings early Basohii paintings are evident here.

Under Raja Govardhan Singh Mughal artists influenced Guler.

The drawing became finer and the coloring more subdued.

The delicate and graceful draperies of women are depicted .

The subject matter are taken from Ramayana and Mahabharata.Nayakas, court scenes and portraits are also depicted.

Kangra and kullu school

The world famous Kangra school was born in the end of the 18th Cent. There seems to be a combination of the Mughal and Rajasthani painting in this school.

The main centres of this school areTeera Sujanpur and Nurpur. Under the patronage of Raja Sansar Chand this school flourished. It seems like most feudal princes, he believed in the Krishna cult. He thus encouraged the artists to paint for him the sports of this God.‘Love Scenes’of Krishna were specially painted. After Sansar Chand’s death the Kangra painting saw its downfall.The painters migrated to Kashmir and Punjab.

Names of Manku, Kishanlal, Purkhoo, Fattoocan be mentioned among the main artists of Kangra.

Guler school influenced Kangra. Graceful girls, gliding with bent heads and down skirts, are drawn on curvaceous lines, radiating the charm of eternal youth.

The colors used are symbolic to indicate their moods. There is emphasis on landscape and foliage. They achieved unique success in translating poetry into painting and also evolved an art which had lyrical quality.

JAMMU

There are similarity of Jammu School with that of Guler. Nainsukh’s paintings are famous with dark green, rich yellows, browns and blues.

With local influences but mature style. Nainsukh’s ‘Kathak Dancer’ is the famous painting. The majority of the pictures from there are portraits of Kings, their courtiers and families.

CHAMBA

Raja Prithvi Singh married a Basholi princess therefore it is certain that Basholi Kalam travelled to Brahmdr and Chamba.The Chamba paintings show Guler influences as well.

The figures are short and squat.

Colors are refined.

The pictures are nearer to wall paintings in their bold outlines. Similar minor schools flourished at Nurpur, Mandi, Suket, Bilaspur and Arki.

TEHRI GARHWAL

The subject matter of these paintings are mostly the Krishna legend and the Ramayana.

Some of the loveliest pictures of the Kangra style were produced inTehri Garhwal. These retain the grace of Green and riches of Kangra.

THANKA PAINTING(Ladakh)

Uses Buddhist motifs and symbol of the dragon. They are religious paintings made in monasteries which use silk and brocade patch work involving highly artistic skills.

OUDH PAINTING

Under the influence of Agra Qalam it prospered under Bahu Begum.

It differs from Mughal style by its softer colors and more intimate scenes and a more refined and sensitive depiction of the female form.The landscape beyond the figures received much more attention than in Agra and Delhi.

Sikh painting

Maharaja Ranjit Singh brought many of Mughal culture at his court at Lahore. He brought Pahari painters as well. He encouraged portraits of his nobles in the Mughal style. The status of the newly exalted Sikh, Hindu and Muslim counters was, therefore, shown in a series of firmly drawn portraits.

Many Miniature paintings could not be survive because of British aggression. But a few fine miniatures of the Sikh Raj have survived. Some large wail paintings can be seen in the different akharas of the Mahants, in the Golden Temple in Amritsar and also in the havelis of the nobles.

Several little illustrated books of the Janak Sakhis, the myths and legends of Guru Nanak, were also painted at this time. The style of painting of the Lahore court remained a mixture of the Pahari Kalams and folk styles. The drawing are vigorous and life-like but lacks refinement.

Tanjore glass paintings

Its origin can be traced to the down fall of the Vijayanagar, when a group of artist migrated to Mysore and Tanjore. It consists of pictures of child Krishna and other favourite divinities. Its important features are-

It uses vivid colors on glass and bold outlines.

• Decorative jewellery. - .
• Uses montacie technique.
• Charm of folk paintings.
• The faces and bodies of the figures have been shown fair and healthy.
• The figures in the painting are strong and worldly.
• Their smiling face in a symbol of goodness.

Mysore school of painting

has the same roots as the Tanjore School Tamil Nadu - though it evolved in its own unique way. It flourished between to 19th centuries. A comparative study of th two schools are -

The Mysore artists excelled in the art of story telling and even incorporated calligraphy in their work. There is one painting where the story of the Ramayana is told in playing card sized figures attractively arranged on a 3ft x 2ft canvas

Bazar painting

Under the English influence the Roman and Greek statues were copied. Figures of Indian Gods with many arms and elephant head etc. were condemned as it did not follow the human figure.

Bazar painters painted and sketched everyday life. They painted pictures of Indian servants, of courtesans dancing before British officials, bazar scenes and flowers and plants in the natural colors.

Patua painting

These are paintings on scrolls and banners with religious themes taken from the Epics and the Krishna cult. It was promoted by Nawabs of Murshidaba and its tradition continued in 19th century Bengal.

Kalighat painting

In Calcutta near Kalighat temple, the local artists flocked to this place ar: painted on hand made paper, the flowers and plants of India in a naturalisit manner.

They painted, Durga, Shiva, Rama, Sita, Krishna and Calcutta’s day tc day life i.e. ‘Bengali Babu buying fish etc.

In fact, any startling scene became the theme of these painters. An Englishman riding an elephant, a murder case, a cat with fish, lions, sacrec cows, flowers etc. Important features were-

Shading which was rare to Indian paintings appear.

Uses bold assertive lines and bright colors.

The Kalighat painting were influenced by the English prints which being sold in the market.

Patna or company school

A number of artists fled to Murshidabad after the downfall of the empire. Later the attacks by Afghans, Marathas and East India C - compelled them to leave for Patna. Here they worked for two cent.

Patna became important commercial centre for the British they influenced these painters. Thus this school borrowed western styles and new techniques like wash technique of water color. Jt came to be known as ‘Company School’. The main centers of this school were Patna, Varanasi, Nepal, Murshidabad, Lucknow, Delhi, Lahore and Pune.

The main characteristics of this school are-

Social theme (smallest events of social life have been painted).There is no depiction of royal splendors or romanticism like Mughal school.

The portraits have one and half faces with light and shades.

Paintings have been done on mica as well.

General life and festivals have been depicted.

A number of these paintings are kept in Khuda Baksh Library, Patna and in Patna Museum.The main painters of this school were - Sevak Ram, Fakir Chand, Shiv Lai and Gopal Lai.

Bengal school

E.B. Havell brought a new style of painting in India based fully on Indian traditions which came to be known as Bengal School. He was against forceful imposition of western art. He attracted the attention of the world towards the great traditions of the Indian art and condemned the prejudiced and cruel criticism of Indian art by the British.

Under his inspiration a group of Bengal artists gave birth to a new traditional style after copying the paintings of Mughals, Rajputs and Ajanta. They created a renaissance under the guidance and leadership of Abanindra Nath Tagore.

This revivalist art was a revolt against the west and against all foreign influences. Subject matter of Bengal School were-

Historical paintings like‘.Buddha and Sujata’by Abanindra Nath Tagore. ‘Akbar’ and ‘Kunal’ by Asit Kr. Haidar.

Religious paintings, ‘Mahakali’, Shiva Parvati, Krishna and Gopies etc.

Literary themes like Meghdoot’ of Asit Kr. Haidar.

Social and daily life paintings.

Birds and animals and landscape painting.

Characteristics

Tried to introduce the linear delicacy, rhythm and grace of Ajanta in their paintings.

Their approach was simplified and normal.

Color scheme is very attractive but avoided bright and gaudy colors. Wash techniques were used to bring harmony.

The impact of Mughal arid Rajasthani schools are visible.

Light and shade has been delicately shown.

The pioneers of this school are - Abanindra Nath Tagore, Gaganendra Nath Tagore, Asit Kr, Haidar, K.Venketappa, Nand Lai Bose, Sharda Charan Ukil, Jamini Roy.

Folk art

It is based on traditional faith and social wisdoms. It has developed in houses and courtyards of Indian villages.

Alpana - drawn in Bengal on auspicious occasions. The links are drawn by white color.Some geometrical designs are done.The colors are home made.

Rangoli - is popular in Maharashtra and Gujarat. The powder of white stone is used for making colors. The designs are made on the ground. )n these designs the desire of well being is expressed by drawing flowers, leaves, creepers and shrubs. It is especially prepared on occasion of marriage and festivals.

In Gujarat it is known as Kaloti. Such decorations are known by different names in various parts of country For example:

Apna - in Garhwal.

Aviapan - in Bihar.

Sanjhi and Chauk Poorna - in Uttar Pradesh.

Mandana - in Rajasthan.