Page 185 - Eye of the beholder

PAHARI MINIATURES
The term Pahari refers to the mountainous region particularly of North Western Himalayan region, watered by the five rivers of the Punjab and divided into numerous small and isolated states under its own hereditary chieftains. Pahari painting therefore includes the works of all these states because it expresses the common spirit of various schools. The most important states were Basohli, Guler, Jammu, Kangra and Garhwal. At the close of the seventeenth century, painting developed in the Punjab Hill states, which for long had remained as cultural backwaters. The rulers of the Punjab hill states were chieftains like the Rajasthani rulers, who in the seventeenth and eighteenth centuries possessed the means and the genius to create some of the charmingly beautiful and aesthetic creations that today characterizes it as the monumental achievement of Indian miniatures. The lively and romantic school of Pahari miniaturists produced some of the finest religious or legendary scenes offering a glimpse of Indian life in the picturesque mountainous region with sentimental and psychological undertones.
BASOHLI MINIATURES
Basohli is considered to be the cradle of Pahari Style of painting, a unique form of miniatures, which emerged in the late 17th century and spread to other states. Basohli was formerly known as Vishvasthali a town in Kathua district in the union territory of Jammu and Kashmir. It is situated on the right bank of River Ravi at an altitude of 1876 ft. Legends and quasi history shrouds its actual history. Basohli rajas were called balaurias after Balore their ancient capital. It was founded by Raja Bhupat Pal sometime in 1635. It was known for the palaces which are now in ruins and the ravishingly coloured miniatures paintings. A style of painting developed here in the fourth quarter of the 17th century, the first dated examples are from the time of Raja Kiripal Pal [1678-93].
Basohli state comprises a group of 74 villages which are in the Jasarota district in Jammu. The chief characteristics of the Basohli paintings were the vigorous use of primary colours, quality of simplicity, geometrical patterns, and peculiar facial formula with possession of qualities of frankness, vitality and vigour. The decorative conventions and dramatic compositions with the figures clad in rich costumes, stylized faces, and large bulging eyes lent unique individuality to these paintings. The charm of Basohli paintings lies in its colour appeal with the employment of vibrant colours as red and yellow and used symbolically to portray emotions. Yellow was the colour of spring, sunshine and mango blossoms and thus symbolic of the warmth of Indian spring and passion of the lovers. These colours also represented the vast spaces drenched in sunshine. Blue the colour of Krishna, dark rain clouds and red the colour of love.
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