Origin and development

The essentials

The Pahari states were small kingdoms in the valleys of the Himalayan foothills. In the late 17th century a vigorous style appeared at Basohli, with bold colours and intense expressions. It spread to neighbouring states such as Chamba, Nurpur and Kulu.

In the 18th century a new, more naturalistic and refined phase began at Guler, linked to artists familiar with the late Mughal style. The family of the painter Pandit Seu was central. His sons Manaku and Nainsukh were outstanding artists. Nainsukh worked mainly for Raja Balwant Singh of Jasrota. The next generations of this family carried the style to Kangra and other states. Under Raja Sansar Chand of Kangra in the late 18th and early 19th century, Pahari painting reached its lyrical peak.

Key points

• Phase 1 (late 17th century): Basohli style, bold and intense.
• Phase 2 (18th century): Guler style, more naturalistic and delicate.
• Phase 3 (late 18th–early 19th century): Kangra style, lyrical and graceful.
• Pahari art was often passed down within artist families.
• Mughal naturalism influenced the later phase, but the themes stayed Indian and devotional.

Exam tips

• Remember the family tree: Pandit Seu → Manaku and Nainsukh → their sons and grandsons in many hill states.
• "Earliest Pahari style" = Basohli; "most lyrical" = Kangra.

Common mistakes

• Treating Kangra and Basohli as the same style; they are very different in mood.
• Thinking Pahari painting was produced in Rajasthan; it belongs to the Himalayan hill states.