NCERT Textbook - The Pahari Schools of Painting | Fine Art for Class 12 - Humanities/Arts PDF Download

 Page 1


The Pahari Schools of Painting
5
P
   ahari denotes ‘hilly or mountainous’ in origin. Pahari 
Schools of Painting includes 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 
seventeenth to nineteenth century. Beginning at Basohli 
with a coarsely flamboyant style, it blossomed into the most 
exquisite and sophisticated style of Indian painting known as 
the Kangra School, through the Guler or pre-Kangra phase. 
Unlike the distinguishing stylistic features of Mughal, 
Deccani and Rajasthani Schools, Pahari paintings  
demonstrate challenges in their territorial classification. 
Though all the above centres crafted precisely 
individualistic characteristics in painting (through the 
depiction of nature, architecture, figural types, facial features, 
costumes, preference for particular colours and such other 
things), they do not develop as independent 
schools with distinctive styles. Paucity of dated 
material, colophons and inscriptions also 
prevent informed categorisation. 
The emergence of the Pahari School 
remains unclear, though scholars have 
cautiously proposed theories concerning its 
beginning and influences. It is widely accepted 
that Mughal and Rajasthani styles of paintings 
were known in the hills probably through 
examples of Provincial Mughal style and family 
relationships of hill Rajas with the royal courts 
of Rajasthan. However, the flamboyantly bold 
Basohli-like style is, generally, understood to 
be the earliest prevailing pictorial language. 
B. N. Goswamy, one of the most significant 
scholars of the Pahari Schools of Painting, has 
attributed the shaping of Pahari style from 
Krishna steals butter, 
Bhagvata Purana, 1750, 
N. C. Mehta Collection, 
Ahmedabad, Gujarat, India
1_5.Pahari Painting.indd   67 01 Sep 2020   02:32:07 PM
Rationalised 2023-24
Page 2


The Pahari Schools of Painting
5
P
   ahari denotes ‘hilly or mountainous’ in origin. Pahari 
Schools of Painting includes 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 
seventeenth to nineteenth century. Beginning at Basohli 
with a coarsely flamboyant style, it blossomed into the most 
exquisite and sophisticated style of Indian painting known as 
the Kangra School, through the Guler or pre-Kangra phase. 
Unlike the distinguishing stylistic features of Mughal, 
Deccani and Rajasthani Schools, Pahari paintings  
demonstrate challenges in their territorial classification. 
Though all the above centres crafted precisely 
individualistic characteristics in painting (through the 
depiction of nature, architecture, figural types, facial features, 
costumes, preference for particular colours and such other 
things), they do not develop as independent 
schools with distinctive styles. Paucity of dated 
material, colophons and inscriptions also 
prevent informed categorisation. 
The emergence of the Pahari School 
remains unclear, though scholars have 
cautiously proposed theories concerning its 
beginning and influences. It is widely accepted 
that Mughal and Rajasthani styles of paintings 
were known in the hills probably through 
examples of Provincial Mughal style and family 
relationships of hill Rajas with the royal courts 
of Rajasthan. However, the flamboyantly bold 
Basohli-like style is, generally, understood to 
be the earliest prevailing pictorial language. 
B. N. Goswamy, one of the most significant 
scholars of the Pahari Schools of Painting, has 
attributed the shaping of Pahari style from 
Krishna steals butter, 
Bhagvata Purana, 1750, 
N. C. Mehta Collection, 
Ahmedabad, Gujarat, India
1_5.Pahari Painting.indd   67 01 Sep 2020   02:32:07 PM
Rationalised 2023-24
68 An IntroductIon to IndIAn Art —PArt II
the simplicity of Basohli to poetic lyricism and refinement 
of Kangra to the ingenuity of a family of artists through his 
scholarly approach of family as the basis of style. His central 
argument is that the family of Pandit Seu (Shiv) was chiefly 
responsible for the course of Pahari paintings. He argues that 
identifying Pahari paintings on the basis of regions could be 
misleading as political boundaries were always fluid. This 
argument is also true for Rajasthani schools as attribution 
merely by regions creates vagueness and several disparities 
remain unexplained. Hence, if a family of artists is considered 
as the style bearer, justification of multiple strands of a style 
can be accommodated within the same region and school.
Scholars agree that in the early eighteenth century, the 
style of the Seu family and others conformed to the Basohli 
idiom. However, from middle of the eighteenth century, the 
style transformed through a pre-Kangra phase, maturing 
into the Kangra style. This abrupt transformation in style 
and beginning of experimentation, which gave rise to 
varied stylistic idioms related to different Pahari centres, is 
largely ascribed to responses by various artist families and 
paintings (especially, the Mughal style) that were introduced 
in the Pahari kingdoms. This sudden arrival of 
paintings, which might have been introduced 
through rulers, artists, traders or any such 
agency or event, impacted local artists and 
profoundly influenced their painting language.
Most scholars, now, dispute the earlier 
hypothesis that the sudden change was caused 
and initiated by the migration of artists from 
the Mughal atelier. 
For Goswamy, it was the naturalism in these 
paintings that appealed to the sensibilities of 
Pahari artists. 
Compositions, worked out from a relative 
point of view, show some paintings with 
decorated margins. Themes that included 
recording the daily routine or important 
occasions from the lives of kings, creation of 
new prototype for female form and an idealised 
face, are all associated with this newly 
emerging style that gradually matures to the 
Kangra phase.
Rama and Sita in the forest, 
Kangra, 1780, Douglas Barrett 
Collection, UK
1_5.Pahari Painting.indd   68 14-12-2021   11:56:23
Rationalised 2023-24
Page 3


The Pahari Schools of Painting
5
P
   ahari denotes ‘hilly or mountainous’ in origin. Pahari 
Schools of Painting includes 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 
seventeenth to nineteenth century. Beginning at Basohli 
with a coarsely flamboyant style, it blossomed into the most 
exquisite and sophisticated style of Indian painting known as 
the Kangra School, through the Guler or pre-Kangra phase. 
Unlike the distinguishing stylistic features of Mughal, 
Deccani and Rajasthani Schools, Pahari paintings  
demonstrate challenges in their territorial classification. 
Though all the above centres crafted precisely 
individualistic characteristics in painting (through the 
depiction of nature, architecture, figural types, facial features, 
costumes, preference for particular colours and such other 
things), they do not develop as independent 
schools with distinctive styles. Paucity of dated 
material, colophons and inscriptions also 
prevent informed categorisation. 
The emergence of the Pahari School 
remains unclear, though scholars have 
cautiously proposed theories concerning its 
beginning and influences. It is widely accepted 
that Mughal and Rajasthani styles of paintings 
were known in the hills probably through 
examples of Provincial Mughal style and family 
relationships of hill Rajas with the royal courts 
of Rajasthan. However, the flamboyantly bold 
Basohli-like style is, generally, understood to 
be the earliest prevailing pictorial language. 
B. N. Goswamy, one of the most significant 
scholars of the Pahari Schools of Painting, has 
attributed the shaping of Pahari style from 
Krishna steals butter, 
Bhagvata Purana, 1750, 
N. C. Mehta Collection, 
Ahmedabad, Gujarat, India
1_5.Pahari Painting.indd   67 01 Sep 2020   02:32:07 PM
Rationalised 2023-24
68 An IntroductIon to IndIAn Art —PArt II
the simplicity of Basohli to poetic lyricism and refinement 
of Kangra to the ingenuity of a family of artists through his 
scholarly approach of family as the basis of style. His central 
argument is that the family of Pandit Seu (Shiv) was chiefly 
responsible for the course of Pahari paintings. He argues that 
identifying Pahari paintings on the basis of regions could be 
misleading as political boundaries were always fluid. This 
argument is also true for Rajasthani schools as attribution 
merely by regions creates vagueness and several disparities 
remain unexplained. Hence, if a family of artists is considered 
as the style bearer, justification of multiple strands of a style 
can be accommodated within the same region and school.
Scholars agree that in the early eighteenth century, the 
style of the Seu family and others conformed to the Basohli 
idiom. However, from middle of the eighteenth century, the 
style transformed through a pre-Kangra phase, maturing 
into the Kangra style. This abrupt transformation in style 
and beginning of experimentation, which gave rise to 
varied stylistic idioms related to different Pahari centres, is 
largely ascribed to responses by various artist families and 
paintings (especially, the Mughal style) that were introduced 
in the Pahari kingdoms. This sudden arrival of 
paintings, which might have been introduced 
through rulers, artists, traders or any such 
agency or event, impacted local artists and 
profoundly influenced their painting language.
Most scholars, now, dispute the earlier 
hypothesis that the sudden change was caused 
and initiated by the migration of artists from 
the Mughal atelier. 
For Goswamy, it was the naturalism in these 
paintings that appealed to the sensibilities of 
Pahari artists. 
Compositions, worked out from a relative 
point of view, show some paintings with 
decorated margins. Themes that included 
recording the daily routine or important 
occasions from the lives of kings, creation of 
new prototype for female form and an idealised 
face, are all associated with this newly 
emerging style that gradually matures to the 
Kangra phase.
Rama and Sita in the forest, 
Kangra, 1780, Douglas Barrett 
Collection, UK
1_5.Pahari Painting.indd   68 14-12-2021   11:56:23
Rationalised 2023-24
t he PAhArI SchoolS of PAIntIng 69
Rasamanjari,  Basohli, 1720, 
British Museum, London, UK
Basohli School
The first and most dramatic example of work from the 
hill states is from Basohli. From 1678 to 1695, Kirpal 
Pal, an enlightened prince, ruled the state. Under him, 
Basohli developed a distinctive and magnificent style. It 
is characterised by a strong use of primary colours and 
warm yellows — filling the background and horizon, stylised 
treatment of vegetation and raised white paint for imitating 
the representation of pearls in ornaments. However, the 
most significant characteristic of Basohli painting is the use 
of small, shiny green particles of beetle wings to delineate 
jewellery and simulate the effect of emeralds. In their 
vibrant palette and elegance, they share the aesthetics of the 
Chaurpanchashika group of paintings of Western India.
The most popular theme of Basohli painters was the 
Rasamanjari of Bhanu Datta. In 1694–95, Devida, a tarkhan 
(carpenter–painter),  did a magnificent series for his patron 
Kirpal Pal. Bhagvata Purana and Ragamala were other 
popular themes. Artists also painted portraits of local kings 
with their consorts, courtiers, astrologers, mendicants, 
1_5.Pahari Painting.indd   69 01 Sep 2020   02:32:07 PM
Rationalised 2023-24
Page 4


The Pahari Schools of Painting
5
P
   ahari denotes ‘hilly or mountainous’ in origin. Pahari 
Schools of Painting includes 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 
seventeenth to nineteenth century. Beginning at Basohli 
with a coarsely flamboyant style, it blossomed into the most 
exquisite and sophisticated style of Indian painting known as 
the Kangra School, through the Guler or pre-Kangra phase. 
Unlike the distinguishing stylistic features of Mughal, 
Deccani and Rajasthani Schools, Pahari paintings  
demonstrate challenges in their territorial classification. 
Though all the above centres crafted precisely 
individualistic characteristics in painting (through the 
depiction of nature, architecture, figural types, facial features, 
costumes, preference for particular colours and such other 
things), they do not develop as independent 
schools with distinctive styles. Paucity of dated 
material, colophons and inscriptions also 
prevent informed categorisation. 
The emergence of the Pahari School 
remains unclear, though scholars have 
cautiously proposed theories concerning its 
beginning and influences. It is widely accepted 
that Mughal and Rajasthani styles of paintings 
were known in the hills probably through 
examples of Provincial Mughal style and family 
relationships of hill Rajas with the royal courts 
of Rajasthan. However, the flamboyantly bold 
Basohli-like style is, generally, understood to 
be the earliest prevailing pictorial language. 
B. N. Goswamy, one of the most significant 
scholars of the Pahari Schools of Painting, has 
attributed the shaping of Pahari style from 
Krishna steals butter, 
Bhagvata Purana, 1750, 
N. C. Mehta Collection, 
Ahmedabad, Gujarat, India
1_5.Pahari Painting.indd   67 01 Sep 2020   02:32:07 PM
Rationalised 2023-24
68 An IntroductIon to IndIAn Art —PArt II
the simplicity of Basohli to poetic lyricism and refinement 
of Kangra to the ingenuity of a family of artists through his 
scholarly approach of family as the basis of style. His central 
argument is that the family of Pandit Seu (Shiv) was chiefly 
responsible for the course of Pahari paintings. He argues that 
identifying Pahari paintings on the basis of regions could be 
misleading as political boundaries were always fluid. This 
argument is also true for Rajasthani schools as attribution 
merely by regions creates vagueness and several disparities 
remain unexplained. Hence, if a family of artists is considered 
as the style bearer, justification of multiple strands of a style 
can be accommodated within the same region and school.
Scholars agree that in the early eighteenth century, the 
style of the Seu family and others conformed to the Basohli 
idiom. However, from middle of the eighteenth century, the 
style transformed through a pre-Kangra phase, maturing 
into the Kangra style. This abrupt transformation in style 
and beginning of experimentation, which gave rise to 
varied stylistic idioms related to different Pahari centres, is 
largely ascribed to responses by various artist families and 
paintings (especially, the Mughal style) that were introduced 
in the Pahari kingdoms. This sudden arrival of 
paintings, which might have been introduced 
through rulers, artists, traders or any such 
agency or event, impacted local artists and 
profoundly influenced their painting language.
Most scholars, now, dispute the earlier 
hypothesis that the sudden change was caused 
and initiated by the migration of artists from 
the Mughal atelier. 
For Goswamy, it was the naturalism in these 
paintings that appealed to the sensibilities of 
Pahari artists. 
Compositions, worked out from a relative 
point of view, show some paintings with 
decorated margins. Themes that included 
recording the daily routine or important 
occasions from the lives of kings, creation of 
new prototype for female form and an idealised 
face, are all associated with this newly 
emerging style that gradually matures to the 
Kangra phase.
Rama and Sita in the forest, 
Kangra, 1780, Douglas Barrett 
Collection, UK
1_5.Pahari Painting.indd   68 14-12-2021   11:56:23
Rationalised 2023-24
t he PAhArI SchoolS of PAIntIng 69
Rasamanjari,  Basohli, 1720, 
British Museum, London, UK
Basohli School
The first and most dramatic example of work from the 
hill states is from Basohli. From 1678 to 1695, Kirpal 
Pal, an enlightened prince, ruled the state. Under him, 
Basohli developed a distinctive and magnificent style. It 
is characterised by a strong use of primary colours and 
warm yellows — filling the background and horizon, stylised 
treatment of vegetation and raised white paint for imitating 
the representation of pearls in ornaments. However, the 
most significant characteristic of Basohli painting is the use 
of small, shiny green particles of beetle wings to delineate 
jewellery and simulate the effect of emeralds. In their 
vibrant palette and elegance, they share the aesthetics of the 
Chaurpanchashika group of paintings of Western India.
The most popular theme of Basohli painters was the 
Rasamanjari of Bhanu Datta. In 1694–95, Devida, a tarkhan 
(carpenter–painter),  did a magnificent series for his patron 
Kirpal Pal. Bhagvata Purana and Ragamala were other 
popular themes. Artists also painted portraits of local kings 
with their consorts, courtiers, astrologers, mendicants, 
1_5.Pahari Painting.indd   69 01 Sep 2020   02:32:07 PM
Rationalised 2023-24
70 An IntroductIon to IndIAn Art —PArt II
courtesans and others. While artist ateliers from Basohli, 
gradually, spread to other hill states, such as Chamba and 
Kullu, giving rise to local variations of the Basohli kalam. 
A new style of painting came in vogue during 1690s to 
1730s, which was referred to as the Guler–Kangra phase. 
Artists during this period indulged in experimentation and 
improvisations that finally resulted and moulded into the 
Kangra style. 
Hence, originating in Basohli, the style gradually spread 
to other hill states of Mankot, Nurpur, Kullu, Mandi, 
Bilaspur, Chamba, Guler and Kangra. 
The Sanskrit epic, Ramayana, was one of the favourite 
texts of the hill artists at Basohli, as well as, Kullu. This 
set derives its name from ‘Shangri’, the place of residence 
of a branch of the Kullu royal family, patrons and formerly 
possessors of this set. These works of Kullu artists were 
influenced in varying degrees by the styles of Basohli 
and Bilaspur.
Rama learns of his exile and prepares to leave Ayodhya 
along with his wife Sita and brother Lakshmana. Maintaining 
equanimity of mind, Rama indulges in his last acts of giving 
away his possessions. At the request of Rama, his brother 
piles up his belongings and the crowd begins to gather to 
receive the largesse of their beloved Rama — jewellery, 
sacrificial vessels, thousand cows and other treasures.
 
Rama gives away his 
possessions, Ayodhya 
Kanda, Shangri Ramayana, 
1690–1700, Los Angeles 
County Museum of Art, USA
1_5.Pahari Painting.indd   70 01 Sep 2020   02:32:07 PM
Rationalised 2023-24
Page 5


The Pahari Schools of Painting
5
P
   ahari denotes ‘hilly or mountainous’ in origin. Pahari 
Schools of Painting includes 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 
seventeenth to nineteenth century. Beginning at Basohli 
with a coarsely flamboyant style, it blossomed into the most 
exquisite and sophisticated style of Indian painting known as 
the Kangra School, through the Guler or pre-Kangra phase. 
Unlike the distinguishing stylistic features of Mughal, 
Deccani and Rajasthani Schools, Pahari paintings  
demonstrate challenges in their territorial classification. 
Though all the above centres crafted precisely 
individualistic characteristics in painting (through the 
depiction of nature, architecture, figural types, facial features, 
costumes, preference for particular colours and such other 
things), they do not develop as independent 
schools with distinctive styles. Paucity of dated 
material, colophons and inscriptions also 
prevent informed categorisation. 
The emergence of the Pahari School 
remains unclear, though scholars have 
cautiously proposed theories concerning its 
beginning and influences. It is widely accepted 
that Mughal and Rajasthani styles of paintings 
were known in the hills probably through 
examples of Provincial Mughal style and family 
relationships of hill Rajas with the royal courts 
of Rajasthan. However, the flamboyantly bold 
Basohli-like style is, generally, understood to 
be the earliest prevailing pictorial language. 
B. N. Goswamy, one of the most significant 
scholars of the Pahari Schools of Painting, has 
attributed the shaping of Pahari style from 
Krishna steals butter, 
Bhagvata Purana, 1750, 
N. C. Mehta Collection, 
Ahmedabad, Gujarat, India
1_5.Pahari Painting.indd   67 01 Sep 2020   02:32:07 PM
Rationalised 2023-24
68 An IntroductIon to IndIAn Art —PArt II
the simplicity of Basohli to poetic lyricism and refinement 
of Kangra to the ingenuity of a family of artists through his 
scholarly approach of family as the basis of style. His central 
argument is that the family of Pandit Seu (Shiv) was chiefly 
responsible for the course of Pahari paintings. He argues that 
identifying Pahari paintings on the basis of regions could be 
misleading as political boundaries were always fluid. This 
argument is also true for Rajasthani schools as attribution 
merely by regions creates vagueness and several disparities 
remain unexplained. Hence, if a family of artists is considered 
as the style bearer, justification of multiple strands of a style 
can be accommodated within the same region and school.
Scholars agree that in the early eighteenth century, the 
style of the Seu family and others conformed to the Basohli 
idiom. However, from middle of the eighteenth century, the 
style transformed through a pre-Kangra phase, maturing 
into the Kangra style. This abrupt transformation in style 
and beginning of experimentation, which gave rise to 
varied stylistic idioms related to different Pahari centres, is 
largely ascribed to responses by various artist families and 
paintings (especially, the Mughal style) that were introduced 
in the Pahari kingdoms. This sudden arrival of 
paintings, which might have been introduced 
through rulers, artists, traders or any such 
agency or event, impacted local artists and 
profoundly influenced their painting language.
Most scholars, now, dispute the earlier 
hypothesis that the sudden change was caused 
and initiated by the migration of artists from 
the Mughal atelier. 
For Goswamy, it was the naturalism in these 
paintings that appealed to the sensibilities of 
Pahari artists. 
Compositions, worked out from a relative 
point of view, show some paintings with 
decorated margins. Themes that included 
recording the daily routine or important 
occasions from the lives of kings, creation of 
new prototype for female form and an idealised 
face, are all associated with this newly 
emerging style that gradually matures to the 
Kangra phase.
Rama and Sita in the forest, 
Kangra, 1780, Douglas Barrett 
Collection, UK
1_5.Pahari Painting.indd   68 14-12-2021   11:56:23
Rationalised 2023-24
t he PAhArI SchoolS of PAIntIng 69
Rasamanjari,  Basohli, 1720, 
British Museum, London, UK
Basohli School
The first and most dramatic example of work from the 
hill states is from Basohli. From 1678 to 1695, Kirpal 
Pal, an enlightened prince, ruled the state. Under him, 
Basohli developed a distinctive and magnificent style. It 
is characterised by a strong use of primary colours and 
warm yellows — filling the background and horizon, stylised 
treatment of vegetation and raised white paint for imitating 
the representation of pearls in ornaments. However, the 
most significant characteristic of Basohli painting is the use 
of small, shiny green particles of beetle wings to delineate 
jewellery and simulate the effect of emeralds. In their 
vibrant palette and elegance, they share the aesthetics of the 
Chaurpanchashika group of paintings of Western India.
The most popular theme of Basohli painters was the 
Rasamanjari of Bhanu Datta. In 1694–95, Devida, a tarkhan 
(carpenter–painter),  did a magnificent series for his patron 
Kirpal Pal. Bhagvata Purana and Ragamala were other 
popular themes. Artists also painted portraits of local kings 
with their consorts, courtiers, astrologers, mendicants, 
1_5.Pahari Painting.indd   69 01 Sep 2020   02:32:07 PM
Rationalised 2023-24
70 An IntroductIon to IndIAn Art —PArt II
courtesans and others. While artist ateliers from Basohli, 
gradually, spread to other hill states, such as Chamba and 
Kullu, giving rise to local variations of the Basohli kalam. 
A new style of painting came in vogue during 1690s to 
1730s, which was referred to as the Guler–Kangra phase. 
Artists during this period indulged in experimentation and 
improvisations that finally resulted and moulded into the 
Kangra style. 
Hence, originating in Basohli, the style gradually spread 
to other hill states of Mankot, Nurpur, Kullu, Mandi, 
Bilaspur, Chamba, Guler and Kangra. 
The Sanskrit epic, Ramayana, was one of the favourite 
texts of the hill artists at Basohli, as well as, Kullu. This 
set derives its name from ‘Shangri’, the place of residence 
of a branch of the Kullu royal family, patrons and formerly 
possessors of this set. These works of Kullu artists were 
influenced in varying degrees by the styles of Basohli 
and Bilaspur.
Rama learns of his exile and prepares to leave Ayodhya 
along with his wife Sita and brother Lakshmana. Maintaining 
equanimity of mind, Rama indulges in his last acts of giving 
away his possessions. At the request of Rama, his brother 
piles up his belongings and the crowd begins to gather to 
receive the largesse of their beloved Rama — jewellery, 
sacrificial vessels, thousand cows and other treasures.
 
Rama gives away his 
possessions, Ayodhya 
Kanda, Shangri Ramayana, 
1690–1700, Los Angeles 
County Museum of Art, USA
1_5.Pahari Painting.indd   70 01 Sep 2020   02:32:07 PM
Rationalised 2023-24
t he PAhArI SchoolS of PAIntIng 71
Set apart on the left are the two princes with Sita standing 
on a carpet with a crowd of recipients moving towards them. 
The painter carefully introduces different types — recluses, 
Brahmins, courtiers, commoners and servants of the royal 
household. The bounteous gifts represented are pile of gold 
coins and garments on the carpet, and cows and calves 
unaware of the momentous event, beseechingly looking at 
Rama with necks stretched, gazes fixed and mouths wide 
open. The gravity of the situation is sensitively portrayed 
through varying expressions — the serene but gently smiling 
Rama, curious Lakshmana, an apprehensive Sita, Brahmins 
willing to receive but with no pleasure, and others with 
expressions of disbelief and gratitude. Taking pleasure 
in achieving fine effects, the artist delightfully depicts 
transparency of the garment Rama is holding out, stippled 
beard on the cheek and chin of the Brahmins, tilak marks, 
jewellery and weapons.
Another painting from the same set depicts Rama and 
Lakshmana accompanying sage Vishvamitra to the forest 
to defeat the demons, who would distress the hermits by 
disturbing their meditative practices and contaminating 
their rituals. An interesting feature of this painting is the 
representation of animals, stealthily prowling behind trees, 
half hidden in the heavy outgrowth. A clever fragmentary 
portrayal of a wolf on the left and a tiger on the right by 
 
Rama and Lakshmana 
following sage Vishvamitra 
to the forest, Bala Kanda, 
Shangri Ramayana 
1680–1688, Raja Raghbir 
Singh Collection, Shangri, 
Kullu Valley, India
1_5.Pahari Painting.indd   71 01 Sep 2020   02:32:08 PM
Rationalised 2023-24