Krishna kills Bakasura

Krishna kills Bakasura 

by Fattu, Bhagwat Puran Series. Kangra School, Mid-18th century.

      Having failed to kill Krishna,  Raja Kansa sent another demon, Bankasura in the form of a gigantic Crane. Krishna did not want the crane to harm others, so he offered himself. The crane caught hold of Krishna in his beak. Having entered his beak, Krishna increased his size, and broke the beak. Thereby killing the demon.
        Fattu has captured the entire story in a very simple narrative. Both the actions take place simultaneously.  Multiple narrative is a common device in Indian art.  In this painting Fattu emphasises the large size of the crane by painting small ducks in the Yamuna River. Balaram, Krishna's elder brother,  and the Gopas rush to help Krishna in killing the demon.
           Troubles come in many forms.  The surroud us, engulf us. With our confidence,  we can 'increase' our ability to tackle them. We can destroy our troubles with a little help from our friends. We all fight with our Bakasura everyday. We are triumphant.

Krishna Kills Vatsasura

Krishna Kills Vatsasura

by Fattu, Bhagwat Puran Series

Kangra School,  Mid-18th century AD.

        No paradise is safe. Vrindavan was no exception.  Kansa, the demon Raja of Mathura knew that people of Gokul have migrated to Vrindavan for safety. But evil has a way of reaching every where.  Soon Kansa sent his demon courtiers for killing Krishna. For it was prophesied that Krishna would eventually kill Kansa. Vatsasura was one of the demons who, thus, came to Vrindavan.  He assumed the form of a cow and entered Krishna's herd. Suddenly there was panic in amongst the cows. They ran here and there. Krishna recognised the demon, caught hold of the cow's tail and dashed him against the tree. Due to the demon's weight, the tree was uprooted.  The Gopas tried their best to control the other cows. Despite the flower lined meadows of the Yamuna River,  trouble lurks at every bend of the river. The idyllic peace does get disturbed once in a while.

Fattu has caught the suspense and the drama very well.

       In every herd, there are bound to be trouble shooters. For like goodness, evil is universal. But we must weed out the evil to keep our garden pristine.

Krishna with Gopas ( Cow Herd Boys)

Krishna with Gopas ( Cow Herd Boys)

by Fattu. Bhagwat Puran Series. Kangra School, Mid-18th century AD.

      Vrindavan--the forest of Tulsi or Basil--was an idyllic setting for Krishna to show his love and his strength.  Here while tending on his cows, he could spend hours with his cow herd friends, the Gopas. Fattu paints the beautiful landscape where Krishna sits and has his meagre lunch with his friends,  while the cows leisurely graze around them. The Yamuna River meanders around Krishna. It is a picture perfect landscape. But despite the presence of God, there is no opulence.  There is only a simple setting of a pastoral countryside.  The Gopas are in their loincloth and shawls; only Krishna wears a crown. But even he sits with a plate full of rice.
According to the Bhagwat Puran, the great sages had reincarnated as Gopas so they could enjoy God's company in Vrindawan.
          Where there is God, it is paradise.  Vrindavan is the land of Gopas and Gopis, the land of Radha and Raslila. It is the land of pristine love.  But like the Garden of Eden,  this paradise has its own share of serpents.

Migration to Vrindavan

by Fattu, From the Bhagwat Puaran Series
Kangra School, Mid- 18th century AD

         Gokul near Mathura proved to be too unsafe. Kansa, the Raja of Mathura and maternal uncle of Krishna, was foretold that the person who would eventually kill him is born. The person lives in Gokul. Hearing this news, Kansa had all the children below two years in Gokul slaughtered.  He had sent other demons who tried to kill Krishna, such as the beautiful Putana. Nanda and others had no option, but to move to Vrindavan, 40 kilometres from Gokul.
          Seated in two bullock carts, surrounded by the poor villagers, carrying their meagre belongings, Nanda and his two wives leave for Vrindavan.  We see the young and the old, women and children,  animals and men walking towards an unknown destination.  Women carry the spinning wheel (the charkha), men carry the heavy loads, the boys tend the cows. In an agricultural society,  the cows are the symbol of wealth. Thus, they are hearded and tended by the community.  Nanda and his wives represent the upper echelon of the community. Hence, they ride in the bullock carts; others walk. While the human beings suffer, nature calmly continues its journey.  Notice the a pair of birds in the upper part of the painting.
        The migration Fattu has captured continues even today. Migration is part of human existence. We are all immigrants--passengers on this path of life.

Nanda Discussing the Possibility of Migrating to Vrindavana with Elders of Gokul

Nanda Discussing the Possibility of Migrating to Vrindavana with Elders of Gokul

 by Fattu, Bhagwat Puran series
 Kangra School, Mid-18th century.

        Gokul where Krishna was deposited by Vasudev is no longer safe. Nanda as the village headman must discuss migration to Vrindavana. Nanda sits with four other elders of the village--perhaps acting as the "panchayat" (a group of five elders of the village who make the important decisions for the community). Each person is animated--notice the hand gestures of each individual.  While the heated discussion goes on Nanda' s two wives, Yashoda and Rohuni, sit near by. Balram and Krishna play in the foreground.  Meanwhile,  a gopi (a woman who looks after the cows) pours water for a cow. Hearing the animated discussion,  even the calf turns towards the elders lost in the discussion.  Something important is in the air, though life seems to go on at its normal pace.
        Fattu's Krishna is not a prince living in a palace. He is a simple villager living in a hut. Gokul is a village and not a city as depicted by other artists. Fattu has subtly built up the suspense by using the animated gestures of the figures and by turning the calf's head. Interestingly,  the men again are individualised portraits; women are not. Both the children in the foreground are carefree, lost in their own world. The concerns of different generations, of different people is depicted with subtlety and sensitivity. Fattu places the viewer in midst of the scene. The naturalism of the scene is mesmerising. 

Nanda Celebrates the Birth of Lord Krishna

Nanda Celebrates the Birth of Lord Krishna

by Fattu. Bhagwat Puran series. Kangra School.
Mid- 18th century CE.

       After his uncle, Nainsukh,  Fattu (1725-1785) is perhaps the most creative artist of the Kangra School. At least three series, namely the Bhagwat Puran, the Bihari Sat Sai and a Ragamala series, are known to be done by him. His paintings are unique in three ways, his composition, that is his division of space, his introduction of landscape and deep space, his study of the society of his time, and most importantly his humanising of Gods into mere mortals.

       This painting belongs to the Bhagwat Puran series. Nanda, the foster father of Lord Krishna,  celebrates the birth of Lord Krishna.  Fattu dramatically divides the space between the white walls of Nanda's palace and the colourful group of people.  Nanda sits in his open courtyard, receiving 'kush grass' from the fellow villagers who have come dancing and singing to his house to congratulate him. In the background are the professional muscians playing on the kettle drums, the shahnai, and other horn instruments.

         In the inner quarter,  Yashoda sits with the newly born Krishna, in her arms. She too is surrounded by the maids and an elderly woman--perhaps the wet nurse. Yashoda too receives the 'Kush grass' from the women of the household.  At the gate of the house, other villagers, an old woman, a mendicant, three  young women, a small child have lined up to congratulate Nanda and possibly to receive alms from him.

        Interestingly, Fattu has captured the different stratas of the society: the rich Nanda and Yashoda, the old and young women, the villagers, the dancers and muscians,  the maid servants and the wet nurse. Nanda, the village headman, is modelled after the portrait of old Emperor Shah Jahan. Thus depicting him almost as part of royalty.

        Surprisingly Fattu is influenced by the Mughal School. He in turn would influence other artists of the Kangra School. Like the Mughal miniatures of Shah Jahan's period, Fattu's male figures are individualised in their portrait. But they are stereotypes of particular class. They will be repeated throughout his work. But the women are all stylised--ever young, delicate, bejewelled. They are not individuals.

         Fattu is, thus, not only an artist, but also a sociologist of his time.

Place a circle of Musk on My Forehead

Place a circle of Musk on My Forehead

Kangra miniature from the Gita Govinda series.
Early 18th century.

       Having united with Krishna, next day Radha asks him to do her makeup. Lovingly, he obliges. She tells him, "O Love, place now a fresh circle of musk, black as the lunar spots, on the moon of my forehead; and mix gay flowers on my tresses with a peacock's feather, in graceful order,  that they may wave like the banners of Kama ( the god of love)." 
       The lovers sit amongst the green rolling hills, amongst flowers, besides the Yamuna River, the dawn breaks in the background over bulbous clouds which havr gathered in the horizon.  Radha leans forward for Kroshna to apply the musk dot on her forehead.
         This painting depicts an idyllic landscape where the lovers spend their morning.
        The soul, now equal to God, can dictate god about what needs to be done. The equation between God and the soul has turned. This is the ultimate message of Gita Govinda.

In the Morning She Rose Disarrayed

In the Morning She Rose Disarrayed

Kangra painting of Gita Govinda series.
Early 18th century. 

       Radha and Krishna have spent a joyous night together in the bower. In the morning,  Radha is disarrayed. Krishna looks at her. Radha tries to hide her embarrassment. Krishna thinks, " Though her tress-knot is loosened, her cheeks perspiring,  the lustre of her lips faded, her necklace of pearls dimmed in beauty by her jar-shaped breasts, and though she hides their place with her hands, looking towards me with modesty,  yet even thus disarrayed,  she fills me woth ecstatic delight." ( Canto XII of Gita Govinda).
       The ideal of feminine beauty had changed in medieval India. While in ancient India a woman had large buxom,  in medieval India she has small ones; in Kangra paintings, women are depicted as delicate, shy and almost like porcelain dolls. Here we see Radha in semi-nude. She does have  translucent cloth to hide her modesty.  The artist has subtly caught her embarrassment and Krishna's delight.
        Once we mingle with godhead, there are no illusions left. Shorne of our dilutions, we stand 'naked' before Him. It is a moment of ecstasy and bliss.

Enter, Sweet Radha the Bower of Hari

Enter, Sweet Radha the Bower of Hari

Kangra painting of Gita Govinda series
Early 18th century.

        The Sakhi (friend) has reconciled the lovers. Both have agreed to meet at night by the banks of Yamuna River. With her hand around Radha, the sakhi leads her to where Krishna is sitting and waiting for her. The sakhi says, according to Gita Govinda,  " Enter, sweet Radha, the bower of Madhav; seek delight, O thou, whose bosom laughs with the foretaste of happiness.  Enter,  sweet Radha,  the bower graced with a bed of Ashoka leaves: seek delight,  O thou, whose garland leaps with joy on thr breast. Enter, sweet Radha,  the bower illumined with gay blossoms; seek delight,  O thou, whose limbs far excel them in softness. "
       The painter has beautifully captured the darkness of the night, the flow of the river--all in muted colours--the shyness of Radha, with her head bent, both with a sense of hesitation and reverence, the anxiety of Krishna, who has just turned to look at the direction from where the footsteps can be heard. It is a moment of suspense, of reunion, of joy. The painting is lyrical and poetic. It captures the beauty of Jaydeva's poetry.
      The sakhi is symbolic of the teacher who takes us on the path of enlightenment. It is the moment of enlightenment.

Radha Embraces the Darkness of Night

Radha Embraces the Darkness of Night

Kangra painting of Gita Govinda series
Early 18th century.

         No other School of miniature painting has explored the nuances of love than the Kangra School.  This is apparent from the paintings done for the Gita Govind, Bihari's Sat Sai, and in Nala Damiyanti series.
         Love, separation, pain, agony, reunion are all interlinked. They are the stages the lovers go through in any love story.  While Krishna feels the pang of separation,  Radha is tormented by the separation.  Her mental and physical condition deteriorates. She becomes delirious.  Her friend, the Sakhi, tells Krishna about her condition at the top right hand corner. She says, "Radha is so delirious that she embraces the darkness of the night, thinking it is you." She eludes to the fact that Krishna is dark in complexion. We see Radha in the foreground embracing the night.
        The dark colours,  the contrast of colors, the pose of Radha speak volumes about her pathos. The turbulent currents of Yamuna river reflect her own turbulence.
        Without God, the soul is constantly in a limbo. It is insecure,  it is confused, it is agonized. God is our only haven.

The Sorrow of Krishna

The Sorrow of Krishna

Kangra Painting of the Gita Govinda series
Early 18th century.

        Radha continues to be angry with Krishna. She refuses to meet him. Krishna pines for her. Lonely he sits on a knoll;  he covers his ear as the buzzing of the bees ( on the upper left corner, near the crescent moon) reminds him of the noise Radha's anklet used to make. He burns in the soft rays of the cresent moon. Even the river shore is jagged,  like the teeth of a saw. The landscape is lifeless.  No flowers bloom, no bird sings. This is pathos at its best.
        Indian artists symbolically use the landscape in order to reflect the psychology of the characters.  If there is love, a flowery landscape is painted; if separation,  a desolate one is depicted; if there is passion, then even the grass turns red. Here since the artist is portraying the pangs of separation,  the willow tree is without flowers; the landscape is as barren as the life of a jilted lover.
       It is not only the soul which always yearns for God, but the God also waits for the soul. In the absence of the soul, God too is miserable.  Krishna, too, sits forlorn.

Radha Trashes Krishna

Radha Trashes Krishna

Painting from Gita Govinda series. Kangara School
Early 18th century.

     This is one of the most rare images in indian art: Krishna being thrashed by Radha. Radha has waited all night long for Krishna. But he never came. She finds him instead sporting with gopis. She hits him with her chunni. The gopis are shocked. One of them rushes to Krishna's rescue. Others are motionless. 
         This is, indeed, one of the finest paintings of the Kangra school. The artist has beautifully juxtaposed the multicoloured dresses of the figures with the bluish green background of the hills and the river. The translucency of the chunni has been caught magnificently.  The entire scene is alive, with flowers, and  birds, with green grass and flowing river. The pastoral countryside of Vrindavan has been brought alive.
          Gita Govinda teaches us that there comes a moment when the soul equals God. Here the soul and the God do some playing around. Though Radha is upset with Krishna. But even that anger is an expression of her undying love for him. As she says in thhe Gita Govind, " the dark clouds remind me of Shyam ( Krishna's name meaning the dark one)." When in love, we see God everywhere.

The Mango Quivers with the Joy of Love

 The Mango Quivers with the Joy of Love

Kangra Painting from the Gita Govinda series
Early 18th century AD.

        In Kangra School different artists illustrated different texts: Gita Govind, Bhagwat Puran, Bihari's Satsai, Nala Dayamanti story, Ramayan, Hamir Hat etc.
          Jayadev, the court poet of Sena king Lakshmansena ( 1185-1206) wrote the Gita Govinda. Instantly it became a great hit with the people. It is one of the finest poem written about the love of Radha and Krishna. It is a popular piece of the Bhakti movement in medieval India. It is sung in temples,  especially in Puri. It has inspired poets, writers, painters, and dancers. It forms the central theme in Odissi dance.
         Though the story is about Radha and Krishna, but it is symbolic of the relationship between God and the yearning soul. It is said that Lord Krishna helped Jaydev write the poem.
         The Gita Govinda series contains some of the finest paintings of thr Kangra School. They are full of lyricism,  full of lush landscapes, full of love.  Kangra school is, infact, famous for its depiction of love.
         Radha waits for Krishna in a grove. A sakhi (friend) approaches her with a message from Krishna. Both hear Krishna's flute and look in that direction.  Randha wonders if Krishna would come to her. The painter gives the answer: all the birds sit in pairs except one on the extreme left. A single bird sits on a branch waiting for its mate. A bird darts across between the two trees on the left. Krishna will come.
         There is some debate as to who has painted this series. While some claim that Manaku, Nainsukh's brother, has painted it, others question this assertion.  But whosoever is the painter, he has left a series of masterpieces for us to enjoy and cherish.

Villagers around Bonfire

Villagers around Bonfire

by Nainsukh. Guler School
1765-75 AD

       This is by far Nainsukh's most daring work, both thematically and stylistically.  Nainsukh explores a new theme of villagers enjoying a bonfire on a wintery night. Villagers of different ages have gathered to gossip, the exchange news, to tell stories, to enjoy the ''hooka" after having finished their daily work. A woman, on the right side, framed by a door, listens to the conversations.  She can overhear it, but not join in. It's a man's world.
          Unlike the Western art, Indian art does not deal with the element of light in paintings. But here Nainsukh dramatically plays on the strong light and dark, on the flickering shadows cast by the bonfire.  The light flickers over the figures,  over the trees, over the walls. From inside the house, light also burns but in a more subdued form. The starry night is beautifully painted.
          This is, indeed, one of the best Guler miniature. For Nainsukh has proven his ability to break through the conventional style of painting and to think out of the box.

Balwant Singh Having His Beard Trimmed

Balwant Singh Having His Beard Trimmed 

by Nainsukh

 Guler School. 1755 AD.

      Nainshukh enlarged the themes of miniature paintings. Here we see an ordinary event of a  nobleman  getting his beard trimmed.
        This is not a usual portrait of a nobleman.  For we have caught him at an intimate moment.  We are a privy to his private moment.  The painting reveals the informal relationship between the ruler and the ruled. It also depicts the simplicity of the ruler. One does not find the opulence,  the formality, the aloofness of the Mughal Emperors.  Here the viewer is like a friend who can walk into the inner apartment and catch the nobleman having his beard trimmed.
          Yet the painting can also be seen as being allegorical: time trims our life, till we are shaved away. Only Nainshuk could see the significance of the moment.

Poet Bihari Offers Homage to Radha and Karishna

Poet Bihari Offers Homage to Radha and Karishna 

By Nainsukh, Guler School
1760-65 AD.

        The poet Bihari is connected to Jaipur as he waa patronised by the Maharaja of Jaipur. It is said that the Maharaja had married a young girl. After the marriage, the Maharaja started ignoring the administrative works. Alarmed by his neglect,  the courtiers asked Bihari to subtly hint to the Maharaja that he should pay more attention to his Kingdom than to the young Rani. BIhari wrote, " if the 'bhawara' (a bee) is so enchanted by a bud, what would happen when it blossoms into a flower?" The maharaja was jostled out of his slumber.  He inquired about whi the poet was. He commissioned Bihari to write couplets (dohas) on the theme of love between Radha and Krishna.
         This painting depicts the poet paying homage to Radha and Krishna. In the line written at the top, the poet prays to Radha and says " Take away the pain of existence,  this cycle of the world, from me, Radha, you, whose (golden) reflection turns Krishna's (blue complexion) into a glowing green (makes him come to life)."
       The pun is that blue and yellow when combined make green--the symbol of life.
       Nainsukh, with his precision and subtleties,  has poignant caught the moment of homage. The poet stands as though praying to Radha. His bag under his arm may contain paper on which he is about to write his couplets. Krishna sits regally,  holding a large lotus: a symbol of his generosity.  Radha sits as a Rani, in all her jewelry and splendour.  Two maids stand behind the divine couple.  One maid has just turned to whisper something to the other. Like the previous painting there is a sense of awe and intimacy, sense of order and precision,  sense of color and solemnity.  This is one of the best works typifing the Bhakti movement one of whose exponent was poet Bihari.

Balwant Singh Seeing a Painting with Nainsukh

Balwant Singh Seeing a Painting with Nainsukh 

by Nainsukh, Guler School
1745-1750 AD.

      The younger son of Pandit Seu, Nainsukh undoubtedly is the painter par excellence of the Pahari School. Born in Guler, a small principality in Himanchal Pradesh, Nainsukh worked for Balwant Singh of Jasrota. Nainsukh not only refined the art of painting with his fine lines, and subtle colours,  but also introduced new themes such as the intimate portraits of the Raja. Nainsukh was alive to different art traditions which he incorporated effortlessly in his work. Thus, his range of work and range of influences are wide. He sets the trend for the next generation of artists from his own family.
         Here we see Nainsukh, having presented a miniature painting to Balwant Singh, standing behind him. The entire scene is simple and subdued.  The Raja sits with his two courtiers, and three musicians.  The room is sparse,  but for the golden throne. Yet each figure, each object, each element is done with keen observation and precision.  The elderly courtier sits with his hands folded, in a gesture of reverence;  the dark musician plays the 'morchang' (jew's harp), the drumer is ready to strike the beat, the tanpura player is busy singing the notes of a raga. With folded hands, Nainsukh waits for a comment from the Raja. The clump of green trees are in contrast to the stark whiteness and barrenness of the hall.
         This is one of the few paintings which clearly depicts the relationship between the patron and the artist. It also reveals the position of the artist in the society.  The artist is not considered a professional or a maestro,  as he was considered in Europe.  Although Pandit Seu used the title 'Pandit' clearly showing the brahminical origin of the family,  but Nainsukh describes himself as belonging to the carpenter-painter community. Obviously the social standing of the artist had declined in a caste based society. It is a comment on our attitude towards our master painters and great artists.

Narasimha Avatar ( Man-Lion Incarnation of Lord Vishnu)

Narasimha Avatar ( Man-Lion Incarnation of Lord Vishnu) 

attributed to Mahesh
Chamba School
1725.

        Chamba School was a slightly more refined than the Basohli School. The line is more fine, the figures are tallish but more proportionate, the colors are flat, but more muted and subdued.  There is a sense of elegance and refinement. 
        The story of Hiranakashipu is related to the Holi festival.  Hoping for immortality,  Hiranakashipu had tricked Lord Brahma into giving him a boon. He could not be killed neither by man nor animal, neither by weapon nor by tools, neither in day nor by night, neither inside a building nor outside. He thought he had become a god. Arrogant and cruel, he unleashed a reign of terror upon people including his own son, Prahlad. Prahlad reminds him that though he may have conquered time, he has not conquered space. For he lives in finite space, but God is omnipresent.  Hiranakashipu kicks a pillar only to find a strange creature emerge from it: Narshima--a half man, half lion. Narsimha drags the demon to the threshold and rips its stomach with his claws at the twilight hour. This incarnation is neither man nor animal, he uses neither a weapon nor a tool, the twilight is neither day nor night, the threshold is neither inside nor outside. 
        Those who are cruel and arrogant, those who use cunning, those who think they are powerful are doomed to die a cruel death. One should be humble and pure in order to enjoy the colors of life.

Monkeys and Bears Fighting in the Madhuvana Grove

Monkeys and Bears Fighting in the Madhuvana Grove 

by Pandit Seu, Guler School
1720 AD.

        The Pahari School began its journey from Basohli. It reached its first stoppage at Guler via Chamba. At Guler it was not only more refined qua the line, the colour, but also qua composition and themes.Here notice the flowing lines, the structured composition,  the unusual theme. The credit for the transformation and improvement in Guler goes to Pandit Seu and his family.  Pandit Seu' s family produced a series of great artists who will eventually lead the Pahari paintings to its best School--the Kangara Kalam (brush).
         In this painting Pandit Seu has depicted a minor incident from the Ramayana. After Hunuman ji discoverd Sita ji' whereabouts,  the monkeys were overjoyed.  On the way back to Lord Ram, they discovered a grove full of intoxicating honey--Madhuvan (the forest of honey). They not only invaded it, not only damaged it, but also faught with the Bears who were protecting it. The pack of monkeys were led by Hanumanji and Angad. Here we see the monkeys fighting the bears.
         Pandit Seu portrays the life in a jungle which is lawless and cruel. Here the strongest kills the weak; in civilized society there is Rule of Law where the strongest protects the weak. The artist paints the stark difference for us. He does not want us to go back to the jungle Raj.

Parakiya Vasakasajja Nayika ( She who prepares and waits for her lover)

Parakiya Vasakasajja Nayika  ( She who prepares and waits for her lover)

 by Devidas, Basohli School
 1695 AD.

        Like Keshavdas' Rasikpriya, Bhanudatta's Rasamanjari also classified the Nayika ( the heroine ) into different categories.  Here is the one, who although is married, but awaits for her lover to come to her. Devidas, the famous Basohli painter, has cleaverly designed the composition.  He has divided the painting into two chambers: in the right one, the cleaver Nayika has made sure  her mother-in-law sleeps while she herself awaits for her love. The mother-in-law's room is plain, the Nayika's room is decorated with fragrant garlands, wine bottles and drinking cups. Having adorned herself, she lies on the bed waiting. Her anxiety is well expressed by turning her body into different directions. 
      Devidas has made the 'primitive' or 'folkish' Basohli painting more sophisticated.  Although he continues to use flat colour backgrounds,  his colour scheme is more complex, his detailing more intricate.  But his composition continues to be a simple one.
       Bhanudatta's Rasamanjari is part of Indian literature on "Kama" (love or sex). Since sex was one of the four goals of life, along with 'arth' ( wealth), dharam (religious duties) and 'moksha' ( liberation of the soul, much was written about sex in ancient and medieval India. Bhanudatta followed the trend. Infidelity seems to be an accepted norm in the society of the time.

The Gods Pay Homage to Bhadrakali

The Gods Pay Homage to Bhadrakali 

Basohli School. 1660-70 AD.

     Besides the Rajput School of miniature paintings, the other School is the Pahari School, from the hill region of Himanchal Pradesh. The origin of the School lies in a small principality, Basohli.  In the late 17th century the Basohli artists produced some of the most dramatic miniatures devoted to the Godess or Devi.
The feminine divine or the mother cult is as ancient in India as the Indus Valley Civilization.  Nature in both its violent and docile form has been seen as a woman or a goddess. For like Nature a woman brings forth, produces, nourishes,  protects, generates and destroys. Women, thus, symbolise the creative and destructive energy of Nature. She is 'Shakti', energy in all its manifestation.
        Here we see the three great Gods of Hinduism,  Bramha, Vishnu, and Mahesh paying homage to Godess Bhadrakali, the dark skinned one. She stands on a corpse, symbolising the innert universe or matter. For it is energy which animates matter. She holds the various attributes or symbols given to her by the Gods, Vishnu's conch shell and lotus, Shiva's noose,  Brahma's vina. These attributes signify her power to reward and punish, to create and destroy, to control and maintain the cosmos.
         Basohli miniatures are easily identifiable.  The artist uses flat colors for the background.  The figures are stocky,  in the main figure the head is small compared to the body, whereas in other figures the head is bigger compared to the body. The images have large eyes, symbolising the omnipresence and omnipotent aspect of the divinity.  The crowns have lotus on them. The paintings are flat. The composition is a simple one. This paintings have an earthy, folkish quality. But they exude robustness,  dynamism, and the strength of the faith of the people in their Gods and Godess.

Krishna Attacks Naraka's Citadel

Krishna Attacks Naraka's Citadel

Painting from Bhagavata Purana series,Delhi-Agra area

1520-30 AD.

       Before the Mughals came to India, an indian school of miniature painting did exist during the Siltanate period.  This school was heavily influenced by the Jain miniatures.  This school is typified by flat space, areas of primary colours,  like the red color in this painting,  sharp profiles of the figures,  and squat figures. The portruding eye of the Jain miniature is replaced with the large eyes. But the prominent chin, the translucent 'chunni', the pigtails are retained.
       Here we see Lord Krishna in his form as Lord Vishnu on his vehicle, the Garuda-- the man-eagle. With a sword in his hand, Krishna approaches Naraka's citadel. Naraka sits with his minister, oblivious of the pending doom. He feels safe and secure in his fortified palace. The fort is surrounded by hills, a moat, and protected by the canons sticking out of the fort walls.
       The painting seems to depict the naivete of human beings. All of us are so secure in our cocoons that we are oblivious of the pending dangers.