Introduction
Painting is an expression of the man's deepest instincts and emotions reconciled and integrated with his social experience and social heritage. It is a visual art, which is connected with the power of imagination, ideal and energy and finds expression through colors on a canvas or a wall.
The tradition of Indian painting lays in antiquity. The legends and folklores attribute the art of painting to Narayana. It believed that Narayana taught the art of painting to Visvakarma and spread its knowledge to the world.
There are several treatises known as Shilpashastras, which discuss the techniques of producing a masterful painting. Mostly natural colors, derived from the pigments of minerals, vegetables, animal products and lampblack were employed in the paintings.
The themes varied from secular to religious.
The cave paintings in Mirzapur district, in Uttar Pradesh, Adamgarh quarry at Hoshangabad, and Bhimbetka in Madhya Pradesh, depicting hunting scenes and figures of animals like stag, elephant, and hare are the earliest examples of paintings.The deftness in execution and all pervasive freshness and vitality of these paintings provide insight into the life and times of that period.
The murals at Ajanta and Bagh, which made appearance in the beginning of the Christian era are till date considered as great centers of Buddhist art. Besides these murals, several wall paintings embellished the walls of the royal palaces.
The illustrated Buddhist and Jain manuscripts and miniatures from the Mughal, Rajput, Deccan and Company schools of the medieval period, are noted for their liveliness, finesse and sophistication to the paintings.
The Bengal Renaissance brought the phase of modern art, which was nourished by the likes of Rabindranath Tagore, Nandalal Bose, and Raja Ravi Verma.
There was interaction, fusion and the harmony in the styles, which developed and defined the tradition of Indian painting.
Paintings reflected the philosophy, culture and thought of India where the painter often referred as 'yogi' rendered immense devotion and reverence to the art.
We at Ethnicpaintings attempt to take you the informative journey of the vibrant world of Indian paintings, its forms, styles, and artists where you will explore, and experience the energy that shaped Indian art.
Paintings are a special buy and many Indian homes patronize Rajasthani painters. Pichwais are the least expensive, unless they are painted by a master artist and finished in gold. Miniature paintings re-enact historical episodes or mythical tales in Schools that have come to be identified with the different kingdoms that merged in Rajasthan. Udaipur and Jaipur miniatures can be recognized by their fine brush strokes, the Bundi and Kotah kalams are known for their scenes of battle and of shikar (hunts) while the Kishangarh School does portraits with Radha-Krishna as the principal characters. Nathdwara, a place of pilgrimage close to Udaipur, furnishes paintings of Krishna in a characteristic style.
Udaipur with its Shilpgram has a wealth of terracotta panels and figures. Barmer is known for the quality of its mirror-embossed embroidery. >From Jaisalmer come the warm though coarse shawls and blankets woven with geometrical motifs and patterns.
Indians knew the art of painting since prehistoric times. The earliest paintings in India can be found on the walls of Bhimbetka caves in Madhya Pradesh. Painted geometric designs and symbols have also been found on pottery items belonging to the Indus valley civilization. The high point of painting in the ancient period can be seen in the frescoes from Ajanta, which depicts the life and style of that period realistically.
While the medieval period is remembered for the Persian styled miniature paintings introduced by the Mughals. Not only were Mughal miniatures great masterpieces, they also influenced local miniature schools in Rajasthan, Punjab and Himachal Pradesh.
The handicraft buyers from India acknowledge the presence of a large international clientele looking for Indian paintings like Miniatures, Thangka and Madhubani. Thus, paintings form a large part of handicraft exports from India.
Paintig Crafts
The prehistoric evidence of Indian painting available is in the form of cave paintings in Uttar Pradesh and Madhya Pradesh. Highly stylized painted pottery and seals have also been found at the Mohanjo Daro and Harappan sites. The Buddhist frescoes at Ajanta and the elaborate wall painting at the Alchi monastery in Ladakh show the sophisticated evolution of technique and style that was reached from the first century BC to the 11th century A.D. In Egypt, fragments of Indian hand-painted cloth have been unearthed, indicating the outreach of Indian painting traditions to far-off places.
The Mughal era was a major period for the development of Indian painting. Various schools of miniature painting flourished during this period. The painting of designs on objects, called naqash was also introduced in the Indian artwork. During he reign of Akbar the Indian miniature painting flourished through a blending of the Persian and Indian streams. A number of artists come to the Mughal court from various parts of the country and on their return to their respective places, established their own schools of painting in Rajasthan, Himachal and other parts of country. Miniature painting took their inspiration from the magnificent court life of their times.
The court and temple paintings have evolved from a more formal tradition. The work in temple paintings has been based on the mythology and the iconography of the region in question. The court paintings developed as part of glorification of the royalty who sponsored the art in a big way. Both these traditions flourished under liberal patronage of the rich. With such a support to their artistic pursuits the painters perfected their art through a continued process of innovations in achieving precision and scope in depiction. The technological base of the art was also strengthened through innovations in colours, canvas materials and brushes.
Folk and tribal paintings have continued since ancient times as part of the activities of local indigenous cultures, without any patronage and support from outside. These paintings generate their own iconography and a vocabulary of strong local forms. Indirectly, it expressed the tribe's response to its surroundings, its social customs and its culture in simple forms and colours.
Miniature Paintings
Miniatures are intricate, colorful illuminations or paintings, small in size, executed meticulously with delicate brushwork.
The history of Indian Miniature Paintings can be traced to the 6-7th century AD, the time, when Kashmiri Miniatures first marked their appearance. Miniature Paintings have evolved over centuries carrying the influence of other cultures. The miniature artists gave self-expression on paper, ivory panels, wooden tablets, leather, marble, cloth and walls. Indian artists employed multiple perspectives unlike their European counterparts in their paintings. The idea was to convey reality that existed beyond specific vantage point.
Miniature Paintings received an impetus in the 16th century under Mughals, Muslim kings of the Deccan, Malwa and Hindu Rajas of Rajasthan. The rich, colorful miniature paintings produced under Mughals had strong Persian influence. The paintings were aristocratic, individualistic and strong in portraiture where the plush court scenes and hunting expedition of royalty were depicted. Flowers and animals were also the recurrent images in the paintings. Mughals also commissioned number of manuscripts with fine illustrations.
The colors used in the miniatures were derived from minerals, vegetables, precious stones, indigo, conch shells, pure gold and silver. The preparing and mixing of the colors was an elaborate process and it took sometimes, months to get the desired color. Very fine brushes were used for the paintings, which were executed on handmade paper.
Many of the miniature paintings of the period were based on 'Ragas' or musical codes of Indian classical music. The artists personified different ragas in pictorial images conveying a specific mood and sentiment.
During the same time, different schools of miniature paintings in Rajasthan flourished like the Mewar, Bundi-Kota Kalam, Jaipur, Bikaner, Kishangarh and Mewar Schools. Each of these schools had their unique style and portrayed the images of hills, valleys, deserts, palaces, forts, gardens, court scenes, religious processions and the scenes from the life of Lord Krishna (a Hindu God). Unlike Mughul miniatures the paintings of Rajasthan were simple in their approach and portrayed scenes of throbbing life around them. The Ragmala paintings and the paintings based on Ramayana, Geetha Govinda and the Bhagavata Purana are the legacy of Rajasthan.
In the 17th-19th centuries the Pahari school of painting started flowering in the hill states of Northern India namely in the regions of Basohli, Guler, Kangra, Mandi, Nurpur, Bilaspur, Manali Kullu and Bilaspur . Though influenced by the Mughul and Rajasthani traditions Pahari School developed its distinctive style. The Kangra School emerged noticeably in the 18th century, and exhibited verdant settings of the Kangra valley and the legends from Lord Krishna's life. The female figures were rendered with grace and charm. The 'Sikh School' formed the last phase of Pahari miniatures.
The Kashmir school of miniature resurged in the l9th century and found expression in the Sharada manuscripts, horoscopes, folk-art works like the krula pacch, nechipatra (almanac) etc. besides individual paintings.
The miniature artists faced hardships after they lost the patronage of the royalty, due to the changed political equations. Today, it is a dying art form as many of the artists have embraced other professions.
The classic miniatures of the yore are preserved in museums. However, reproductions of these miniatures are also available that can be made a part of private collection.
The colorful illuminations, which captured the fancy of the royalty and aristocracy, emerged in the medieval period. The illustrated manuscripts of Jains and Buddhists, and the flowering of the Mughal, Rajput, and Deccan Miniatures are noted for their meticulous execution and artistic skills. The fine stroke of brushes conveyed the themes from the Ramayana, Mahabharata, Bhagvata Purana, Rasikpriya, Rasamanjiri, etc.
These masterpieces of yore have a universal appeal which still touch the right chord of the audience.
Tanjore Paintings
Tanjore or Thanjavur as it is called today acquired its name from the ancient pronunciation of the place which was then called Thanjavoor. It was then the capital of the mighty Chola empire. The Chola rulers besides being great warriors, were builders of magnificent temples and great patrons of arts. It was against this setting that this highly specialised form of art with its characteristically beautiful ornamental relief work flourished. The Tanjore school of paintings dates back to the 16th century. However, there are only a few paintings that date back that far. The fact remains that most of the paintings that exist today are not even a hundred years old
The paintings are notable for their adornment in the form of semi-precious stones, pearls, glass pieces and gold. The rich vibrant colors, dashes of gold, semi-precious stones and fine artistic work are characteristics of these paintings. They add beauty and culture to a variety of surroundings and décor. The paintings are mostly of Gods and Goddesses because this art of painting flourished at a time when fine-looking and striking temples were being constructed by rulers of several dynasties. The figures in these paintings are large and the faces are round and divine.
Crafted with meticulous care the Thanjavoor (Tanjore) pictures are unique. What sets them apart from Indian paintings in general are the embellishments made over the basic drawings with precious and semi-precious stones as well as the relief work which gives them a three dimensional effect. The pictures are of various sizes, ranging from huge works spanning whole walls to small miniatures no longer than 6-inch square.
Patachitras
Orissa craftsmen, generally create paintings on cloth, in the form of scrolls. These paintings are known as Pata Chitra and mainly depict stories pertaining to Jagannath temple of Puri. Mainly cotton or tussar silk is used and coated with a mixture of chalk, tamarind seed and gum to give the surface of the cloth a leathery texture. These paintings are created in the form of scrolls. These painted scrolls, depicted mythology and stories relating to various gods and goddesses. These paintings are known for bright vibrant colors and distinct lines.
Patachitra or the painting on the cloth is the vibrant folk art of Orissa, popular since ancient times. The religious and mythological stories from the Ramayana, Mahabharata and Bhagavata Gita have continued to provide endless themes to the Chitrakara (painter). The painters articulate the pictures of Radha- Krishna, Shakti, Jagannath, Balabhadra, and Subhadra with immense devotion and reverence.
Patachitras are known for their bold lines and brilliant play of colors. It is a hereditary art practiced by the family of the painters usually living in the vicinities of the temples. Initially, Raghurajpur and Dandasahi villages in the district of Puri were the only centers where the practitioners of this art lived but when temples were erected in other places in the state the artists spread in other areas like; Bolangir, Sambalpur, and Ganjam.
The preparation of Patachitra involves a double coarse white cloth pasted together with an adhesive made in tamarind seeds. The tamarind seed powder is soaked in water overnight and then boiled to provide it a gummy consistency. Sometimes, artist adds rice powder to the mixture to give a stiffer feel to the canvas.
It is followed by a coat of tamarind paste, which is applied, on both the sides of the cloth and the cloth is left to dry. On the front face of the dried cloth, a coat of soap stone powder mixed with tamarind paste is applied. Finally, the canvas is burnished by rubbing coarse grain and polished stones.
When the canvas is ready, the artist marks the border area and outlines the central composition. It is followed, by painting the background in red, also known as pahili ranga bhara or first coloring. In the subsequent stage, the artist colors the figures, applies the red ornaments and black details and completes the border decoration. The central colors used in Patachitra are red, brick red, yellow, white and lamp black. The painter employs the various kinds of brushes. It is interesting to note that artists of Orissa do not use the squirrel hairbrushes but the fine brushes made from the hairs of a mongoose or rat, or the coarser brushes made from the hair of a buffalo neck. In the past, artists also used kiya plants for drawing thick lines.
When the artist completes the painting, a protective lacquer glaze 'jausala' is provided to the painting. It is interesting to note that in earlier times resin powder was sprinkled on the 'pata' and it was weighed with a bag of hot sand but today mostly the artists apply synthetic varnish, which gives a brown tint to the patachitras.
Patachitas have an important role in the temples of Orissa. Each year, the painted wooden images of Jagannath, Balabhadra, and Shubhadra are ritually given the holy bath. This cleansing leads to the discoloration of the images. Hence, they are removed from the garbha griha for repainting. During this period, the temple images are substituted for three patachitras representing the divine trio.
The privilege of painting the patachitras is given to only three families referred as hakimas. The painter has to adhere to certain rules while painting the patachitras. A new cloth measuring 120 cms by 90 cms is taken for the painting. The artist completes the figures with the exception of the eyes and gives it to the priest who in turn performs a ritual, 'netrotsva' which induces life to the painting.
For tourists visiting Orissa, Patachitras form an important souvenir item. For them, special souvenir mementos representing the utsava image and the central sanctuary of the Puri temple is painted on the patachitras.
Today, the fame of Orissa Patachitras for their brilliant colors, and designs have spread all across the world and they are considered as collector's item.
Jadupatua
Jadupatua illustrations are vertical scroll paintings popular in Murshidabad, Birbhum, Bankura, Hooghly, Burdwan, and Midnapore districts of West Bengal and Santal Parganas of Bihar. Traditionally, they were executed on cloth, which was later replaced by paper.
The paintings showed the rewards and the punishments meted out by Yama, the God of death to the souls after their departure from the mortal world. The artists who painted these scroll were known as Jadupatuas or Duari Patuas, which literally meant magical painters. Belonging to the same community of potters, barbers, blacksmiths, sweetmeat makers and inhabiting the region of Santal Parganas, they traveled from village to village and gave their performances for which they were paid in cash or kind. The other means of livelihood practiced by them included cultivating a piece of land or piercing nose and ears.
Besides this, they also visited homes, which were recently visited by death with a picture of the deceased complete in every aspect except for the iris of the eyes. They also carried with them other paintings showing objects like utensils, cows, goats, ornaments and money. Once they reach the house of the deceased they evaluated the resources of the family and based on their judgment took out the pictures stating that their loved one is wandering in the other world without a sight and they could restore the vision in return of the objects indicated in the picture. Once they received the payment, the Jadupatuas would perform the 'Chakshudana' i.e. restoration of the eyes by filling in the iris of the eyes on the painting.
The Santals also followed a tradition where the charred bones of the dead were immersed in river Damodar. Most of the Santals found it a difficult preposition so they often requested the Jadupatuas to go to Damodar and make a symbolic immersion by consigning the drawing in the water. In return, the Jadupatuas received fees for it.
Apart from the funeral theme, the Jadupatua paintings included other subjects too like ---'the story of creation of the Santals', 'the Santal festival of Bahu', 'Jatras or mass meeting of the Santals for dancing', 'the personification of Santal clans', 'a tiger or leopard' and 'the adventures of Krishna with the milkmaids'.
The scrolls executed in natural colors, with brushes made of goat hair, were characterized by a common form and style. The Jadupatua families of Santal Paraganas had close connections with the Patuas of Bengal and thus certain common idioms were reflected in the paintings.
Typically, in the Jadupatua paintings there was a sheer abandonment that enabled the artist to distort any or every form and give expressions & colors for dramatic and poetic purposes however where the contact with the Hindu society was greatest the figures showed more sophistication.
Madhubani
Madhubani, a village nestled in the State of Bihar, literally translated means the forest of honey. According to legends, the presence of a forest in the vicinity of this rural hamlet from where the villagers gathered honey from the beehives lent the name to the village. The village is acclaimed worldwide for its folk paintings called Madhubani paintings or Maithil Paintings.
Madhubani paintings were done by the womenfolk on the walls of the houses at the auspicious occasions. Women from the castes of Maithil Brahmins and Maithil Kayasths were the primary practitioners of this folk painting. The special occasions were the 'januar', a sacred thread ceremony when a boy became an adult member, the' gosain ghar' i.e. the dedication or renovation of the family shrine, festivals such as Chhath, Chauth Chand, and the Devathan Ekadasi, the first marriage when the bride and the groom were formally linked and the second marriage when they entered the actual married state.
For the first three occasions the corridors and the goasin ghar were embellished with paintings of gods and goddesses. And for the latter two occasions mural paintings were done in the kohbar or the marriage chamber at the bride's house. The married couple stayed in the kohbar for a week and an oil lamp was placed that burned day and night.
There was predominant use of gods and goddesses and auspicious symbols in the bridal chamber. It was considered necessary to include all the main gods and goddesses in the paintings so that they can shower their blessings on the newly weds. Divine couples like Shiva and Parvati, Vishnu and Lakshmi, Ram and Sita, Radha and Krishna along with Jagannatha trio, Ganesha, Durga and Kali were illustrated on the walls. Often, the bride and groom were also depicted whereby they could also become a part of the auspicious scene.
The symbols like ring of lotuses ( kamalban or purain) and bamboo (bans) tree were commonly used to decorate the walls. It is interesting to note that both the symbols are associated with the fertility and progeny. The other symbols included, moon, a source of heavenly nectar, to ensue a long life, sun to fertilize and impregnate, turtles to bring beneficent powers to the matrimonial alliance, parrots to symbolize bride and bridegroom and fishes to help in fertility.
Besides these, four joganis or servants of Durga are also illustrated in each corner of the room to prevent anyone from casting negative spell on the bride and bridegroom.
The painting was executed on smooth mud walls plastered with cow dung. Often, a coat of whitewash was also applied before actually starting the process of the painting. Traditionally, vegetable colors mixed with oil and milk or gum were employed. The primary colors in the madubani paintings were pink, yellow, blue, red, green, black and white. A piece of rag tied to a twig or a sliver of bamboo frayed at the end was used as a brush.
At the time of decorating the wall, women of the household and even from the neighborhood used to come together, the most experienced woman used to take the charge and drew outlines of the figures. Once, the outlines were sketched the other women used to fill in the colors in the shapes. Young girls were usually assigned the task of holding the pots of paint and preparation of paintbrushes. The idea was that they should get well acquainted with the ritual and technique of painting by the time they leave for their husband's house.
It is worth mentioning that some households maintained memoirs in which the designs were recorded for the posterity. The designs for the God Brahma, lotus ring, Krishna, and the panel of gods were contained in the memoirs. The daughter when left for her husband's home usually carried these prized possessions and also adopted the idioms from her mother-in law's home.
As mentioned earlier that the chief exponents of the Madhubani Paintings were the women from the Maithil Brahmin and Maithil Kayasth hence an individual style of both is easily identifiable.
Maithil Brahmins paintings can best be described as casual collection of figures, which seem to float like aimless creatures in a single flat plane yet gracefully harmonize with each other in the picture space. There is ample use of the blues, yellows, pinks, and reds in these fantasy paintings where the figure seems to have a waiving vitality. While, Maithil Kayasth paintings appear to be tightly bound into panels with patterned frames or ranged in long processions round the walls. The chief colors, which were used, were bluish gray, ochre, madder and black in the paintings, which were executed in complicated patterns. The figures were fleshy and rotund in nature.
It was a creative media to reach the divinity and bow's one head in deep reverence for his blessings and goodness. Madhubani Paintings continue to fascinate all an one for their lively yet innocence depiction of themes which are humane on one hand and divine on the other hand
Bihar is famous for its Madhubani paintings. Madhubani paintings are also referred as Mithila Art, as it flourishes in the Mithila region of Bihar. These paintings were initially drawn on walls, but due to the commercialization of this art form, in recent years, it is now being made on paper and cloth. Women in villages, mainly create these painting. The technique and style is passed from one generation to another. The main themes of Madhubani paintings are, cycle of life, gods, goddesses and mythical figures, animals etc. Madhubani wall paintings have ritual functionality and are a part of the wedding ceremonies. These paintings are done with mineral pigments and the figures or images are drawn with thick lines. These paintings are popular because of their tribal motifs and use of bright earthy colors.
Kalamkari
Kalamkari is a traditional Indian craft predominantly related to cotton fabric. In this craft, fabric is patterned through the medium of dye rather than loom. Ochre is one of the few colors which cotton would take on easily. But for other colors the fabric is to be initially treated with mordant that facilitated the absorption of the desired hue. Mordant can be easily applied either with block or with a brush or pen like instrument on a pre woven fabric.
The use of the kalam (pen) on the cloth lent the term kalamkari to this art form. This art was used for decorative or functional hangings in domestic and monumental structures as wrapping and covering material, or in costume.
There are five key areas in Krishna district in South India where the craft is practiced however there are several departures from the earlier practices. Mordant is uniformly printed with the block. Indigo dying has been virtually relinquished and the application of wax resist by kalam is also absent from the procedure. Mordant for outlining in black remains the same.
Phadas
Rajasthan the land of colors is known for Phad painting, which is done on cloth. This type of painting is mainly found in the Bhilwara district. The main theme of these paintings is the depiction of local deities and their stories, and legends of erstwhile local rulers. Phad is a type of scroll painting. These paintings are created while using bright and subtle colors. The paintings depicting exploits of local deities are often carried from place to place and are accompanied by traditional singers, who narrate the theme depicted on the scrolls. The outlines of the paintings are first drawn in block and later filled with colors.
Phadas belong to the rich tradition of paintings of western India. Phada, a folk painting can simply be described as a large painting on cloth, which commemorates the deeds of a hero. The smaller version of phada is known as phadakye.
The provenance of this cloth painting is not clear, as it is customary to destroy old phadas by submerging them into the river at Pushkar in Rajasthan. Therefore the specimens, left from the past do not date back to a very old period. They mostly belong to the late 19th century or early 20th century.
As it was an oral tradition, literary evidence is also absent. However, the tradition of using painted hangings to illustrate a story was common in India since olden times. There are texts and compositions, which refer to the presence of such a practice.
Generally, the life events of Goga Chauhan, Prithaviraj Chauhan, Amar Singh Rathor, Tejaji, and many others were illustrated on the Phadas in the earlier times but today the stories from the life of Papuji, and Narayandevji are primarily depicted. While, phadakye display the stories of Ram Krishnadala, Bhainsasura, and Ramdev.
The heroes shown in the Phadas are those, which have attained divine status thus immense reverence, and honor is accorded to them.
Phadas are painted by the chhipa caste also known as Joshis. These paintings are considered sacrosanct, and are begun only after certain ceremonies. It is interesting to note that Phadas are not worked on during the monsoon season, as it is believed that folk hero deities are asleep during this period.
A coarse, white cloth is starched and smoothened with a wooden burnisher. Chhipa then draws the initial sketch ( chakna dena) with a non-permanent yellow color. After that, the faces and the figures are painted with a saffron color (munda banana). It is followed by the application of colors in the following sequence-green, brown, vermilion, sky blue, and finally black is used for outlining the figures. Traditionally, colors derived from vegetables and minerals are used but today even synthetic colors have also become popular. The brushes used by him are prepared from the hair of the squirrel tail or goat.
The artist refrains painting the eyes of the main character till the time he does not hand over the cloth painting to the bhopa (a person from the bhopa caste who specializes in singing different tales). At this time he adds the name of the bhopa and the date on the painting.
The bhopa chants the stories of phadas at night. He usually performs in the company in the company of two-three bhopas. They sing, dance to the accompaniment of the instruments like jantara, majira, chinpia, etc as one illuminates the related section of the hanging. There are very rare cases when the phadas are performed without the instrument. Sometimes, the phadas are also regarded as object of worship.
Phadas are pictorial representation of stories that sometimes appear to overlap. The central portion depicts the main story while the puranic tales are illustrated on the border areas.
Today, phadas have become an important item in the commercial market for their unique appeal.
Kangra
The Kangra Miniatures of the Pahari School made a mark in the 18th century. Though influenced by the Mughals, the Kangra School retained its distinctiveness.
The paintings were naturalistic and employed cool, fresh colors. The colors were extracted from minerals, vegetables and possessed enamel-like luster. Verdant greenery of the landscape, brooks, springs were the recurrent images on the miniatures. Texts of the Gita Govinda, Bhiari's Satsai, and the Baramasa of Keshavdas provided endless themes to the painters. Krishna and Radha as eternal lovers were portrayed rejoicing the moments of love. The Kangra miniatures are also noted for portraying the famine charm with a natural grace.
The paintings based on Ragmalas (musical modes) also found patronage in Kangra. Some of the famous Kangra Ragmala Paintings include Ragini Gujari, Raga Lalit and Ragini Sorathi.
Kangra School in its later stage included scenes under star-studded skies and also portrayed storms with lightning running across the horizon. These features were conspicuously absent in the other schools of panting. Later, Kangra miniatures also depicted towns and cluster of houses in the distance but curiously mountains above the height of 13,000 ft were never made a part of the paintings.
Kangra miniatures were adopted as a model of pictorial expression at many places of Pahari paintings including Chamba.
The miniature artists faced hardships after they lost the patronage of the royalty, due to the changed political equations. Today, it is a dying art form as many of the artists have embraced other professions
The classic miniatures of the yore are preserved in museums. However, reproductions of these miniatures are also available that can be made a part of private collection.
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