Pahari Painting Schools

[Blank] denotes ‘hilly or mountainous' in origin.

Pahari Schools of Painting includes towns, such as Basohli, Guler, ______, Kullu, Chamba, Mankot, Nurpur, Mandi, Bilaspur, Jammu and others in the hills of western Himalayas.

Beginning at Basohli with a coarsely flamboyant style, it blossomed into the most exquisite and sophisticated style of Indian painting known as the ______ School.

[Blank], Deccani and Rajasthani Schools, Pahari paintings demonstrate challenges in their territorial classification.

Though all the above centres crafted precisely individualistic characteristics in painting, they do not develop as ______ schools with distinctive styles.

Paucity of dated material, colophons and ______ also prevent informed categorisation.

It is widely accepted that Mughal and Rajasthani styles of paintings were known in the hills probably through examples of Provincial Mughal style and family relationships of hill Rajas with the royal courts of ______.

However, the flamboyantly bold Basohli-like style is, generally, understood to be the earliest prevailing ______ language.

[Blank], one of the most significant scholars of the Pahari Schools of Painting, has attributed the shaping of Pahari style from the simplicity of Basohli to poetic lyricism and refinement of Kangra.

His central argument is that the family of Pandit Seu (______) was chiefly responsible for the course of Pahari paintings.

He argues that identifying Pahari paintings on the basis of regions could be misleading as political boundaries were always ______.

Scholars agree that in the early eighteenth century, the style of the Seu family and others conformed to the ______ idiom.

However, from middle of the eighteenth century, the style transformed through a pre-Kangra phase, maturing into the ______ style.

This sudden arrival of paintings, which might have been introduced through rulers, artists, traders or any such agency or event, impacted local artists and profoundly influenced their painting ______.

Most scholars now dispute the earlier hypothesis that the sudden change was caused and initiated by the migration of artists from the ______ atelier.

For Goswamy, it was the ______ in these paintings that appealed to the sensibilities of Pahari artists.

The first and most dramatic example of work from the hill states is from ______.

From 1678 to 1695, Kirpal Pal, an enlightened prince, ruled the ______.

It is characterised by a strong use of primary colours and warm yellows-filling the background and horizon, stylised treatment of vegetation and raised white paint for imitating the representation of pearls in ______.

The most significant characteristic of Basohli painting is the use of small, shiny green particles of ______ wings to delineate jewellery and simulate the effect of emeralds.

In their vibrant palette and elegance, they share the aesthetics of the ______ group of paintings of Western India.

The most popular theme of Basohli painters was the ______ of Bhanu Datta.

In 1694–95, Devida, a ______ (carpenter-painter), did a magnificent series for his patron Kirpal Pal.

[Blank] and Ragamala were other popular themes.

Artists also painted portraits of local kings with their consorts, courtiers, astrologers, ______.

While artist ateliers from Basohli, gradually, spread to other hill states, such as Chamba and Kullu, giving rise to local variations of the ______ kalam.

A new style of painting came in vogue during 1690s to 1730s, which was referred to as the ______ phase.

The ______ epic, Ramayana, was one of the favourite texts of the hill artists at Basohli, as well as, Kullu.

This set derives its name from ‘______', the place of residence of a branch of the Kullu royal family, patrons and formerly possessors of this set.

[Blank] learns of his exile and prepares to leave Ayodhya along with his wife Sita and brother Lakshmana.

Set apart on the left are the two princes with Sita standing on a carpet with a crowd of recipients moving towards ______.

Rama and Lakshmana accompanying sage ______ to the forest to defeat the demons, who would distress the hermits by disturbing their meditative practices and contaminating their rituals.

The first quarter of the eighteenth century saw a complete transformation in the Basohli style, initiating the ______ phase.

This phase first appeared in Guler, a high-ranking branch of the Kangra royal family, under the patronage of ______.

[Blank] artist Pandit Seu with his sons Manak and Nainsukh are attributed with changing the course of painting around 1730–40 to a new style, usually, referred to as the pre-Kangra or ______-Kangra kalam.

Though initiated by Manak, also called Manaku, his brother ______, who became the court painter of Raja Balwant Singh of Jasrota, is responsible for shaping the Guler School emphatically.

Manak's most outstanding work is a set of ______ painted in 1730 at Guler, retaining some of the elements of the Basohli style, most strikingly the lavish use of beetle's wing casings.

[Blank] appears to have left his hometown in Guler and moved to Jasrota.

Painting in the Kangra region blossomed under the patronage of a remarkable ruler, ______.

An earlier phase of ______ paintings is witnessed in Alampur and the most matured paintings were painted at Nadaun, where Sansar Chand shifted later in his life.

Kullu emerged with a distinctive style, where figures had a prominent chin and wide open eyes, and lavish use of grey and terracotta red colours in the background was made. [Blank] is a well-known set painted in the Kullu Valley in the last quarter of the seventeenth century.