Radha being persuaded by her handmaiden, & the conversing with Krishna

Radha being persuaded by her handmaiden, & the conversing with Krishna

Kangra in Himachal Pradesh, late 18th century

Water colour on paper

Kangra was an important location from the hills of Himachal while most of the Indian subcontinent was under the reign of Mughal Emperor Shah Jehan. The power of Kangra was due to its appropriate locations and the fort which was ruled by Sansar Chand. This great Hindu ruler was a connoisseur of art from a very early stage in his life with keen interest in painting the scenic beauty of the hills camouflaged with the stories of Krishna from the epics of Mahabharata. The subject matter of Kangra miniatures shows the cult of Krishna which is understandable in context to the Rajput society where arranged marriages were the norms and the vibrantly romanticized character of Krishna with gopis, especially with Radha a married women was fascinating.

Late periods of 18th century have seen mature stages of Kangra painting, which were closer to Raja Sansar Chand’s death. This painting is at its peak in defining the beauty of nature along with Radha, the female who is always the important feature of attention. The canvas is divided in two haves with abundant greenery of trees with flowers which have curled up to create the two diagonal spheres in the canvas to portray the story of Radha anxiously waiting for her lover Krishna while being persuaded by her handmaid and the other half shows how she is pleased to be in company with Krishna.


The elegant portrayal of Radha’s body in the first space is complimentary to the flowering tree next to which she sits on a bed of leafs. The contrast in colours highlights the main focal point of the painting. The viewer to browses through his/her eyes from the left scene to the right one as if they are meant to be read as a story which the artist has taken efforts to emphasize along with the natural beauty of the hills of Kangra. The natural beauty and scenery has always affected the paintings in the hills, whether it is from Kullu, Kangra or Basholi (closer locations). The curves of the female body and the orientation of the trees express the sensuality of an ideal embodiment. The style has a unique sense of freedom and is closely connected with its local surrounding.


Kangra style of paintings had considerable influence on the art of other states of Garhwal. The beautiful cascading colours with all the vitality and sentimental appeal having compelling animated love scenes, transparent body curvatures and the charm of the slender figures are a few features of kangra miniatures which were followed over the generations before the artists finally had to shift from hills to the Mughal courts.


Reference Reading

1.Centres of Pahari Painting by Chandramani Singh

2.Indian Miniature Paintings by Anjan Chakraverty

3.Love of Krishna in Indian Painting and Poetry by W G Archer

4.Indian Art – A Concise History by Roy C Craven