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.
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.
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