Natyasutra Online

Influence in Painting

Pahari denotes ‘hilly or mountainous’. Pahari Schools of Painting feature towns such as Basohli, Guler, Kangra, Kullu, Chamba, Mankot, Nurpur, Mandi, Bilaspur, Jammu and others in the hills of western Himalayas, which emerged as centres of painting from the seventeenth to the nineteenth century. Following the 18th-century decline of the Mughals, Pahari paintings rose to prominence. Artisans of the Mughal empire sought newer pastures to evolve further and propagate their art. Famous among these were Kangra and Basholi, both of which were prominent styles of miniature paintings. Miniatures are small-sized paintings, generally done in watercolour on cloth or paper. Raja Sansar Chand and Raja Kripal Pal are associated with those schools.

While Basholi is well-known for its simplicity, Kangra is famous for its flamboyance. But themes involving the Gita Govinda and avatars of Lord Krishna are prominent in both. The rulers and the audience felt a genuine affection for the mischievous cowherd, and the tribulations of Radha had many sympathetic takers. Artist Pandit Seu had two talented sons, Manakuand Nainsukh. Their contribution to manoeuvring the style of Pahari painting from the simplicity of Basohli to that of Kangra is immense. Paintings based on the Gita Govinda constitute Manaku’s most outstanding set of works. The characters are divine and they enact the play on a philosophical plane, where Radha is a devotee or soul, and Krishna, the cosmic power, in whom she drowns. The love sport played here is rather human. In this painting, Radha is shown as feeling shy and hesitant as she approaches the forested area, while Krishna is seen eagerly waiting for her. This motif of different emotions of the Gita Govinda is depicted vividly is a hallmark of Pahari paintings.

Madhubani or Mithila paintings are native to the eponymous region in Bihar, distinct for their use of natural dyes and pigments to provide an eye-catching finish. Traditionally, the painting was done on freshly plastered mud walls and floors of huts but, over the years, it has moved to varied mediums, including cloth, handmade paper and canvas. Geometric patterns and freelance tracing of shapes, decided as per the interest of the artists concerned, are common. These were originally gender-specific paintings used by women to decorate their nuptial rooms, which eventually took a ritualistic turn over time.

Themes from the Gita Govinda were a favourite among the artists. As fertility images were preferred, artisans chose the poem because of the whirlwind course of emotions that Radha endures during the poem. Tales of the love story, including the pain of separation and the bliss of marital life, are prominently explored themes. These themes became a creative outlet for women in North Bihar to express their memories of joy, sorrow, hope and family life. They rose to prominence with time, gaining traction at the national level, where they earned renown for their unique perspective on Lord Krishna and Radha’s turbulent journey.