Page 191 - Eye of the beholder

KANGRA
During the closing years of the 18th century, around 1780, the Punjab Hill state of Kangra became the centre of one of the greatest style of Indian painting. At this time the ‘Guler Kalam’ was at its peak. Then it entered Kangra and came to be known as ‘Kangra Kalam’. The oldest Kangra paintings are connected with Guler where portraits of Raja Goverdhan Chand and his family, have been depicted. After him Raja Prakash Chand and then Raja Bhoop Singh came into power. Under Raja Sansar Chand’s [1775-1823] patronage, finest paintings were created and his period is considered to be the ‘Golden Period’ of Kangra School. A blend of Mughal accomplishments and Hindu aspirations, in its flowing rhythmical line, the simple unaffected naturalism, its predilection for lovely feminine forms and above all its air of innocent sexuality makes Kangra painting distinct and different from many other miniature schools. Kangra as a matter of fact could be considered an umbrella name under which many sub schools flourished as at Guler, Mandi, Garhwal and others. All these sub schools shared a commonality of characteristics with poetic elegant line, subtle colours and the representation of charming and beautiful women.
This great style that came into existence was the result of two factors, which played a crucial and important role. The first was the accession to Kangra throne in 1775 of an exceptional patron. The second was the existence in a nearby state of master-artists suitable for employment. It was this accidental combination, which led to the special situation out of which the Kangra style was born. Yet besides these important circumstances one more factor played a significant role and this was a special cult of innocent womanhood, a product of Rajput traditions as they had developed in isolation.
The distinguishing feature of Kangra style of painting was its depiction of elegant idealism. This was explained by the fact that in the Punjab Hills, Rajput culture had enjoyed a greater freedom and that painting expressed more directly the basic sentiments of the courts. It was because both patron and artists were imbued with same emotional attitudes that Kangra painting was able to achieve its exquisite and charming heights. The artists whose presence was a vital prerequisite for Kangra art were associated with the small state of Guler, an offshoot of Kangra and lying lower down in Kangra valley was more accessible from the Punjab plains. The characteristic theme of Kangra art was romantic love. Lovely women, yet restless with
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