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.

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.

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.