Brushstrokes of Heritage: Navigating the Enchanting World of Kangra Paintings

यथा सुमेरू: प्रवरो नगानां यथाण्डजानां गरुड: प्रधान:I यथा नराणां प्रवर: क्षितीशस्तथा कलानामिह चित्रकल्प” II ४३:३९ II
(Viśṇudharamottara Puraṇa)
As Sumeru is the best of mountains, Garuda, the chief of birds, and a lord of the earth,
the most exalted amongst men, so is painting the best of all arts.
(Tr. by Stella Kramrisch, 1928)
Art has been an integral part of human expression since prehistoric times. From the era of Hunter-Gatherers, humans have captured their emotions through the medium of art. Fast forward to the 17th century, a new artistic tradition blossomed in the hills of the Western Himalayas, particularly in what is now Himachal Pradesh. This tradition emerged to become one of the most exquisite expressions in the annals of human creativity: Pahadi miniature painting, with Kangra Painting as one of its most illustrious manifestations. The term ‘Pahadi paintings’ encompasses the rich painting tradition that flourished in the hills of the western Himalayas, spanning from Jammu to Garhwal, including the present state of Himachal Pradesh, between the 17th and 19th centuries under the patronage of various Pahadi rulers.

History and Origin

The origins of Pahadi art in the hills of Himachal are steeped in intriguing narratives. According to Padma Shri Vijay Sharma ji, during Akbar’s reign, Lahore emerged as a thriving centre of art, attracting artists from across India and Persia. However, with the shift of the imperial capital to Agra under Jahangir, only the best artists could move to Agra, while the remaining artists sought patronage under Hindu Rajput chiefs in the hills. This migration marked the genesis of the first phase of Pahadi paintings, with schools established in Chamba, Basholi, and Nurpur. The second phase, around the 18th century, witnessed a surge in artistic activity as artists sought refuge in the hills amidst the decline of Delhi after attacts of Nadir Shah. This period saw the rise of new centres, notably Guler and Kangra, the latter flourishing under the patronage of Maharaja Sansar Chand Katoch. Under his sponsorship, Kangra school of Pahadi painting attained unparalleled popularity, particularly renowned for its depictions of scenes from the life of Lord Krishna.
Portrait of Maharaj Sansarchand Katoch
Maharaja Sansar Chand and Saint Tulsidas paying homage to Rama and Sita Circa - 1825-1830, Kangra, Himachal Pradesh

Themes and Inspiration behind the Paintings

Krishna flirting with the Gopis, to Radha’s sorrow: folio from a Gita Govinda Series Circa : 1810-1820
The allure of the Kangra Valley, with its snow-capped mountains and pristine scenery, captivated the artists who migrated from Mughal courts. Here, they found inspiration in Hindu mythology and romantic poetry from Sanskrit and Hindi literature, particularly the timeless love story of Radha and Krishna. Themes of devotion and spiritual ecstasy pervaded their works, drawing from revered texts like Jayadeva’s Geeta Govind and Bihari’s Satsai. The depiction of love and romance, epitomized by Radha and Krishna, became a hallmark of Pahadi paintings, beautifully expressing the Bhakti cult’s spiritual fervour.
This style of painting was pioneered by renowned artists such as Pandit Seu, Nainsukh, and Manku, who initiated a tradition that influenced various hill regions and gave rise to new art schools, where local artists incorporated their own ideas and themes.
Self portrait of legendary artist Pandit Nainsukh

Features of Kangra paintings

Kangra paintings are characterized by their lifelike realism and meticulous attention to detail, particularly in their portrayal of nature. The extensive use of natural elements such as trees, rivers, and flowers, along with a vibrant palette dominated by various shades of green, lends these paintings their distinctive charm. Noteworthy is the refinement of female figures, imbued with an ethereal grace that epitomizes feminine beauty. As the art form evolved, Kangra artists began incorporating dramatic elements such as of seasons like heavy rains, thunderstorm, night scenes etc., adding depth and dynamism to their compositions.
Abhisarika Nayika ( she who goes out to meet her beloved) , from the AshtaNayika Series Circa - 1800-1825
Decline
The decline of Pahadi paintings coincided with the shifting political landscape as hill rulers came under Sikh dominion. With the demise of Maharaja Sansar Chand Katoch, patronage for the arts waned, leading to the migration of artists to Sikh and Dogra courts. Despite sporadic attempts at revival, Pahadi art languished for decades, overshadowed by changing times and lack of institutional support.

Future
In recent decades, a resurgence of interest in Kangra art has breathed new life into this venerable tradition. Artists like Padm Shri awardee Vijay Sharma ji of Chamba have spearheaded efforts to preserve and promote Kangra painting, culminating in the award of a Geographical Indication (GI) tag to this esteemed art form. The future of Kangra art shines bright, offering a window into our cultural heritage and spiritual legacy. As we delve into the enchanting world of Pahadi paintings, particularly Kangra art, we embark on a journey of discovery, where each brushstroke tells a story, and each painting embodies a timeless expression of beauty and devotion.
A Talented Artist of Kangra Painting immersed in her Painting
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यथा सुमेरू: प्रवरो नगानां यथाण्डजानां गरुड: प्रधान:I यथा नराणां प्रवर: क्षितीशस्तथा कलानामिह चित्रकल्प” II ४३:३९ II (Viśṇudharamottara Puraṇa) As Sumeru is the best of mountains,

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