Basohli Paintings
BASOHLI PAINTINGS
The Pahari School of Art developed in the mountainous regions of Basohli, Kulu, Guler, Kangra, Jammu, and Garhwal between the 17th and 19th centuries. The first centre of the Pahari school materialised at Basohli, with its own bold, flamboyant style. The style is toned down in the Guler paintings with their finer drawings and calmer colours. Subsequently, the paintings from Jammu became clearer and simpler, exhibiting greater individualisation, and ultimately transformed into rhythmic, graceful paintings from Kangra. Basohli, nevertheless, gave birth to the Pahari style and paved the way for other centres to flourish.
Basohli: Puranic Scene Devi Enthroned
Radha and Krishna in Rasmanjari by Bhanudatta, Basohli
Basohli, a simple town in the Jammu region, was the cradle of Pahari paintings. It gave rise to a unique style of miniature painting that fused mythology with traditional folk art. It was under Sangram Pal (1635-1673) and later Kirpal Pal (1678-1693) that Basohli paintings flourished. Vaishnavism was adopted under the reign of Sangram Pal; hence, the early paintings, specifically the Rasmanjari series, depict Krishna as the protagonist. This was a clever synthesis of mythology and love that gave Basohli paintings an unconventional appeal. The characteristic features of these paintings were the use of bright, bold colours like red, yellow, and blue in the borders and in the generally flat background. The other distinguishing part was the facial features—a prominent nose and lotus-shaped eyes.
The female figures can be categorised into three groups based on their attire. The dress styles of both males and females resemble those worn in the Mughal or Rajput courts. The architectural elements also remind one of Mughal and Rajputana architecture, with its intricate inlay work, niches and lavishly furnished interiors.
Depiction of flora was not unusual in Basohli paintings. The artists’ favourite was the rhododendron’s bright red flowers. The most distinctive feature of these paintings, however, was the portrayal of jewellery, with embossed white paint used for pearls and the wing cases of beetles in emerald green.
The latter phase of Basohli paintings matured under the patronage of Kirpal Singh. During his reign, additions to the Rasmanjari series were illustrated to depict the ruler’s religious affiliation with Vaishnavism explicitly. The compositions were more sophisticated in this phase, with an emphasis on naturalism. Although mentions of artists in the inscriptions were rare, two artists, Devidasa and Manaku, were considered exceptionally gifted and are believed to have produced masterpieces.
While the later phase of Basohli painting is often regarded as more polished, the compositions of the earlier phase were equally remarkable. Of the latter period, the ‘Gita Govinda series’ by Manaku holds great importance. The Basohli style continued until the mid-18th century and spread to other towns as well. The style never completely faded out and is believed to have inspired other art centres.
Gita Govinda Miniature