Гималай подтауларының миниатюралық сурет өнері

Indian pictorial art form related to the Himalayan foothills of northwestern India

Pahari painting is an umbrella term used for a form of Indian painting, done mostly in miniature forms, originating from the lower Himalayan hill kingdoms of North India and plains of Punjab, during the early 17th to mid 19th century, notably Basohli, Mankot, Nurpur, Chamba, Kangra, Guler, Mandi and Garhwal. Nainsukh was a famous master of the mid 18th century, followed by his family workshop for another two generations. The central theme of Pahari painting is depiction of eternal love of Hindu deities Radha and Krishna. A distinct lyricism, spontaneous rhythm, softness, minute intricate details of composition, and intense perception and portrayal of human emotions and physical features distinguish the Pahari miniatures from the other miniature schools like Deccan, Mughal and Rajasthani Rajput.

The Pahari school developed and flourished during 17th 19th centuries stretching from Jammu to Garhwal, in the sub Himalayan India, through Himachal Pradesh. Each created stark variations within the genre, ranging from bold intense Basohli Painting, originating from Basohli in Jammu and Kashmir, to the delicate and lyrical Kangra paintings, which became synonymous to the style before other schools of paintings developed, and finally to the poetic and cinematic representations in Garhwali Paintings by Mola Ram. The Kangra style reached its pinnacle with paintings of Radha and Krishna, inspired by Jayadeva's Gita Govinda. Pahari painting grew out of the Mughal painting, though this was patronized mostly by the Rajput kings who ruled many parts of the region, and gave birth to a new idiom in Indian painting. Some local antecedents have also been suggested, as a vivid Kashmiri tradition of mural paintings flourished between the 9th and 17th centuries, as seen in the murals of Alchi Monastery or Tsaparang.

A small hill state situated alongside the banks of river Ravi, known as Basohli, ushered in this new style in 1690. Over the following two centuries, this style was perfected in various major and minor centres of Pahari Art. The major centres consist of the Guler, Chamba, Mandi and Kangra schools, while the minor ones include: Garwhal, Hindur, Jammu, Kullu, Bilaspur, Srinagar, and a few other schools located in the Punjab plains. The typical female figures in paintings of the Chamba school exude warm, sensual and charming beauty. Noted for its deft handling and mixing of colours, the canvas space of Chamba paintings is dominated by red and blue colours.

Garhwal School: It shares an affinity with the Guler School and its sensitive portrayals of landscape. A Garwhal miniature often has an overcast sky with clouds, foggy landscapes, etc. this style developed in the Punjab plains and was characterised by Sikh images, and stereotypical costumes, and emphasis on features like beards and moustaches. Kashmir, Lahore, Mankot and other schools: The surrounding minor centres where Pahari art developed following the conventions of the major art centres. There exists little difference in between these schools.