thumb|300px|right|Krishna playing a flute, ca. 1790-1800 Rajput period.
Kangra painting, the pictorial art of Kangra is one of the finest gifts of India to the art-world, named after [Kangra, Himachal Pradesh|[Kangra]],
Himachal Pradesh, a former princely state, which patronized the art. It became prevalent with the fading of
Basohli school of painting in mid-eighteenth century , and soon produced such a magnitude in paintings both in content as well as volume, that the
Pahari painting school, came to be known as Kangra paintings .
Though the main centre of Kangra paintings are
Guler,
Basohli,
Chamba,
Nurpur,
Bilaspur and Kangra. Later on this style also reached
Mandi, Suket,
Kulu, Arki,
Nalagarh and
Tehri Garhwal, and now are collectively known as
Pahari painting .
Kangra paintings belong to the school of
Pahari paintings that were patronized by the
Rajput rulers between the 17th and 19th centuries.
Pahari paintings, as the name suggests, were paintings executed in the hilly regions of India, in the sub-Himalayan state of
Himachal Pradesh. It is in the development and modification of Pahari paintings, that the Kangra School features. Under the patronage of
Maharaja Sansar Chand (c.1765-1823), it became the most important center of Pahari painting.
History
Sansar Chand (c.1765-1823), and early patron of the Kangra style
This great art originated in a small hill state ‘
Guler’ in the Lower Himalayas in the first half of the eighteenth century when a family of Kashmiri painters trained in
Mughal painting Style sought shelter at the court of Raja Dalip Singh (r. 1695-1741) of Guler. The rise of
Guler Paintings started in what is known as the Early phase of Kangra Kalam. The new arrivals mingled with the local artists and were greatly influenced by the atmosphere of the hills. Instead of painting flattering portraits of their masters and love scenes, the artistes adopted themes of eternal love between Radha and Krishna. The paintings were naturalistic and employed cool, fresh colors. The colors were extracted from minerals, vegetables and possessed enamel-like luster. Verdant greenery of the landscape, brooks, springs were the recurrent images on the miniatures.
This style reached its zenith during the reign of
Maharaja Sansar Chand Katoch (r.1776-1824) who was a great patron of Kangra art. Being a liberal patron, the painters working at his atelier received large commissions while others accepted a permanent settlement in the form of lands. Maharaja Sansar Chand was an ardent devotee of Krishna and used to commission artists to paint subjects based on the loves and life of Krishna.
The Guler-Kangra art is the art of drawing and the drawing is precise and fluid, lyrical and naturalistic. In these styles the faces are well modelled and shaded so judiciously that they possess almost porcelain-like delicacy.
Themes
The focal theme of Kangra painting is Shringar (the erotic sentiment). The subjects seen in Kangra painting exhibit the taste and the traits of the life style of the society of that period.
Bhakti cult was the driving force and the love story of
Radha and
Krishna was the main source of spiritual experience, which was also the base for the visual expression.
Bhagvata Purana and the love poems
Gita Govinda of
Jaidev were the most popular subjects dealing with the legends and the amorous plays of Radha and Krishna symbolising soul’s devotion to God. In some miniatures, the blue-god Krishna is seen dancing in the lush woodlands and every maiden’s eye are drawn to him. Krishna subjects, known commonly as Krishna-lila predominate, while the themes of love, inspired by the nayaks and nayikas and baramasa enjoyed great favour. The sentiment of love remained the inspiration and the central theme of Pahari painting. The Sat Sai depictions of the legendary lovers, on the other hand, were set against an architectural background with walls, balconies and windows. Kangra paintings influenced by the Bhagavad Purana portrayed incidents from the life of the young Krishna, against the Brindavan forest or river Yamuna. The other popular themes were the stories of Nala and Damayanti, and those from Keshavdas's Baramasa.
Features of Kangra painting
thumb|Sita in the forest, 1780/" class="wiki">Rama and
Sita in the forest, 1780
One striking feature of the ancient Indian Kangra paintings is the verdant greenery it depicts. The style is naturalistic, and great attention is paid to detail. The foliage depicted is vast and varied. This is made noticeable by using multiple shades of green. The Kangra paintings feature flowering plants and creepers, leafless trees, rivulets and brooks.
The Kangra artists adopted various shades of the primary colors and used delicate and fresher hues. For instance, they used a light pink on the upper hills to indicate distance.
Kangra paintings depict the feminine charm in a very graceful manner. Facial features are soft and refined. The female figures are exceptionally beautiful.
Later Kangra paintings also depicted nocturnal scenes, and storms and lightning. The paintings were often large and had complex compositions of many figures and elaborate landscapes. Towns and house clusters were often depicted in the distance.
The Kangra painters used colors made of vegetable and mineral extracts. They employed cool and fresh colors. Kangra paintings are known for the lyrical blending of form and color.
The Kangra Arts Promotion Society() an
NGO at Dharamshala Himachal Pradesh is working for the promotion of this art which is at the verge of extinction today. This NGO is running a school to train young boys and girls in this art. It also runs a workshop where genuine Kangra Paintings are made on traditional hand made paper using only mineral and vegetable colours.
See also
