The Pahari Schools of PaintingClass 12 Fine Arts NCERT Solutions
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Q1Exercise
Representation of nature in Pahari miniature paintings is found everywhere. According to you, what could be the reasons for this?
Solution
The pervasive representation of nature in Pahari miniature paintings can be attributed to several key factors, as suggested by the source material.
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Geographical Context: The term 'Pahari' itself means 'hilly or mountainous'. The schools of painting, such as Kangra, Guler, and Basohli, were located in the hills of the western Himalayas. The artists were surrounded by lush landscapes, forests, rivers, and mountains, which naturally became a prominent feature of their artistic expression. The text notes that Kangra painters, in particular, would "acutely observe the landscape and represent it naturalistically."
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Narrative and Emotional Enhancement: Nature was often used as a device to set the mood and enhance the narrative of the painting. For instance, in the depiction of the Abhisarika Nayika, the "darkness of the night, flashes of lighting, murky clouds, [and] snakes hissing about" are not just background details but elements that emphasize the hazards the heroine braves for love. Similarly, the forest in the Shangri Ramayana is depicted as a "thick impenetrable jungle, populated with ferocious animals," which adds to the dramatic tension and highlights the courage of Rama and Lakshmana.
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Thematic Requirement: Many popular themes were intrinsically linked to nature. The Baramasa paintings, illustrating the modes of love corresponding to the twelve months of the year, required detailed depictions of seasonal changes. Religious and mythological themes, such as the life of Krishna, were often set in pastoral landscapes like Vrindavan, necessitating the portrayal of trees, rivers, and animals.
Q2Exercise
What are the major schools of Pahari miniature paintings and list their places of expansion. How were they different from each other? Mark all schools of Himalayan (Pahari) paintings on a map.
Solution
The source text identifies a broad classification of three major styles or schools of Pahari miniature paintings: Basohli, Guler, and Kangra. These are considered indicative centres from which the styles traveled and expanded.
Major Schools and Their Expansion:
- Basohli School: Originating in Basohli, this style gradually spread to other hill states including Mankot, Nurpur, Kullu, Mandi, Bilaspur, Chamba, Guler, and Kangra. Its offshoots continued in centres like Chamba and Kullu.
- Guler School: This style, often referred to as the 'pre-Kangra' or 'Guler-Kangra' phase, first appeared in Guler. The work of the artist Nainsukh in Jasrota is a prime example of this school, making Jasrota an important centre.
- Kangra School: This style blossomed under Raja Sansar Chand at Tira Sujanpur. From there, the Kangra style spread to Garhwal in the east and Kashmir in the west.
Differences Between the Schools:
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Basohli: This is the earliest style, characterized by its bold and dramatic nature. Its features include:
- A "coarsely flamboyant style".
- Strong use of primary colours and warm yellows.
- Stylised depiction of vegetation.
- A unique technique of using shiny green beetle wing particles to simulate emeralds in jewellery.
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Guler: This school represents a transition from the boldness of Basohli to the refinement of Kangra. Its style is:
- More "refined, subdued and elegant" compared to Basohli.
- Characterized by a palette of "delicate pastel shades with daring expanses of white or grey," as seen in Nainsukh's work.
- Focused on naturalism and individual portraiture.
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Kangra: This is considered the most sophisticated and lyrical of the Pahari styles. Its key characteristics are:
- "Poetic and lyrical" quality with "serene beauty and delicacy of execution".
- Emphasis on delicacy of line, brilliance of colour, and minuteness of decorative details.
- A distinctive female facial type with a straight nose in line with the forehead, which became popular around the 1790s.
(Note: The task of marking the schools on a map is a practical exercise that requires a visual aid and cannot be completed in this text-based format. The locations mentioned are Basohli, Guler, Kangra, Kullu, Chamba, Mankot, Nurpur, Mandi, Bilaspur, Jammu, Jasrota, and Tira Sujanpur.)
Q3Exercise
Select a poem or a story and illustrate in it any style of Pahari miniature painting.
Solution
This question requires a practical artistic creation, which cannot be provided here. However, a method for approaching this task based on the text is as follows:
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Select a Poem or Story: Choose a short literary piece with strong visual elements. For example, a verse from a poem about a rainy day.
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Choose a Pahari Style: Decide which style to emulate. For instance, you could choose the Kangra style.
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Conceptualize the Illustration: Plan the composition based on the chosen style's characteristics as described in the chapter.
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Execute the Illustration:
- Figures: If illustrating the Kangra style, the female figures should be drawn with the characteristic straight nose in line with the forehead. The figures should be delicate and graceful.
- Colours: Use a palette of "brilliance of colour," as mentioned for the Kangra school. The colours should be harmonious and lyrical.
- Lines and Details: The drawing should be defined by a "delicacy of line" and include "minuteness of decorative details" in costumes and architecture.
- Nature: The background should feature a naturalistic landscape, as Kangra painters were known to "acutely observe the landscape." The depiction of rain, clouds, and wet foliage should be done with a soft, poetic feel to evoke the mood of the poem.
- Composition: Arrange the elements to create a serene and balanced scene, reflecting the overall "poetic and lyrical" quality of the Kangra kalam.
By following these steps, one can create an original illustration that reflects the aesthetic principles of a specific Pahari school of painting.
Q4Exercise
Prepare small critiques on works of the following.
(a)
Nainsukh
(b)
Basohali paintings
(c)
Ashta Nayikas
(d)
Kangra kalam
Solution
(a) Nainsukh
Nainsukh was a masterful artist from the Guler school who is credited with shaping the later Pahari style. His genius lay in individual portraiture, moving away from stylized forms towards a more refined naturalism. His work is best exemplified by the series of paintings he created for his patron, Raja Balwant Singh of Jasrota. These paintings are remarkable for their intimate and informal portrayal of the ruler's life, capturing him in various activities like performing puja or inspecting a building site. Nainsukh's style is subdued and elegant, characterized by a palette of delicate pastel shades and a keen observational skill that captures the specific personality of his subject. His compositions are often uncluttered, creating a sense of peace and quietude, which reflects a deep psychological understanding of his patron.
(b) Basohli Paintings
The Basohli school represents the earliest phase of Pahari painting and is known for its dramatic and vibrant style. These paintings are characterized by a raw, energetic quality, described as "coarsely flamboyant." The artists used a bold palette dominated by strong primary colours and warm yellows. A distinctive feature of Basohli work is its unique decorative technique, such as using raised white paint for pearls and embedding shiny green beetle wings to simulate emeralds in jewellery. The figures are stylized, and the treatment of nature is not strictly naturalistic. Thematically, Basohli painters often illustrated texts like the Rasamanjari and Bhagvata Purana, infusing them with a powerful and expressive visual language that is both magnificent and distinctive.
(c) Ashta Nayikas
The Ashta Nayikas, or eight heroines, is a recurring and significant theme in Pahari painting that allowed artists to explore a wide range of human emotions and romantic situations. This theme classifies heroines based on their emotional state in relation to their beloved, such as the one waiting in anticipation (Utka) or the one who braves dangers to meet her lover (Abhisarika). The depiction of the Ashta Nayikas provided a framework for artists to master the portrayal of subtle psychological states through expression, gesture, and posture. Furthermore, the natural setting in these paintings is often used symbolically to mirror the nayika's mood, making the landscape an active participant in the emotional drama. This theme showcases the Pahari artists' sensitivity and skill in representing the complexities of love and longing.
(d) Kangra Kalam
The Kangra kalam (style) is considered the pinnacle of Pahari painting, celebrated for its poetic lyricism, delicacy, and refinement. Flourishing under the patronage of Raja Sansar Chand, this style is marked by serene beauty and exquisite execution. Its defining characteristics include a delicacy of line, the use of brilliant yet soft colours, and meticulous attention to decorative detail. A most distinctive feature is the idealized female face with a straight nose in line with the forehead. Kangra paintings exhibit a sophisticated naturalism, especially in the depiction of landscapes. The themes are often romantic and devotional, such as the Gita Govinda and Bhagvata Purana, and are rendered with a grace and emotional depth that make the Kangra style one of the most sophisticated in the history of Indian art.