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Journal articles on the topic 'Pahadi Painting'

Author: Grafiati

Published: 3 June 2025

Last updated: 31 July 2025

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1

Kaur, Jasminder. "GANGAVATARAN THEME ON CHAMBA RUMAL." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (2022): 224–31. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.83.

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The needle art or embroidery was the famous time pass of Indian woman folk. Many of these home-grown techniques have taken a place in the larger canvass of Indian art. Chamba rumal of Himachal Pradesh is one of them. It is narrative theme & technique, and commands a special place in the Indian embroidery world. Chamba rumal is embroidered on off white cotton cloth with untwisted silk threads. Although we find two styles of embroidery in the Chamba valley, the classical one is the style famous in the art world with the name of Chamba Rumal. The classical style of the embroidery was develope

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Kaur, Jasminder. "CHAMBA RUMAL: THE PAINTING BY NEEDLE." International Journal of Research -GRANTHAALAYAH 5, no. 6 (2017): 18–32. http://dx.doi.org/10.29121/granthaalayah.v5.i6.2017.1988.

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India is a nursery of art and numerous mesmerizing arts and crafts forms have taken shape in this land. Its hill state of Himanchal Pradesh has a legacy of many art techniques and the townships of Guler, Basohli, Kangra, Chamba, and Mandi are the main art schools here. Other than rich pictorial art of murals and miniatures, it has many other art forms to its credit, but the picturesque Chamba Rumal stands unparalleled. The vivacity, vividness and precision of this needle art make it so close to the Pahadi miniatures and murals that it appears to be their transcript on the fabric. Because of th

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3

Jasminder, Kaur. "CHAMBA RUMAL: THE PAINTING BY NEEDLE." International Journal of Research - Granthaalayah 5, no. 6 (2017): 18–32. https://doi.org/10.5281/zenodo.805871.

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India is a nursery of art and numerous mesmerizing arts and crafts forms have taken shape in this land. Its hill state of Himanchal Pradesh has a legacy of many art techniques and the townships of Guler, Basohli, Kangra, Chamba, and Mandi are the main art schools here. Other than rich pictorial art of murals and miniatures, it has many other art forms to its credit, but the picturesque Chamba Rumal stands unparalleled. The vivacity, vividness and precision of this needle art make it so close to the Pahadi miniatures and murals that it appears to be their transcript on the fabric. Because of th

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4

Sonika. "RAINBOW OF COLOURS – THE PAHARI MINIATURE PAINTING”." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–4. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3534.

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Indian miniatures are in the art world a class by themselves. ‘Miniature’ generally refers to a painting or illumination, small in size, meticulous in detailing and delicate in brushwork1. Indian Miniature Painting has a long history of over thousand years and presents a comprehensive record of the religious and emotional feelings of the Indian people. These paintings show the Indian genius in its pure form. Its inspiration is rooted in the people’s hearts, keeping close to their poetry, music and drama. The great merit of this art is the exquisite delicacy of drawing with decorative details.

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Dr., (Mrs.) Sonika. "RAINBOW OF COLOURS – THE PAHARI MINIATURE PAINTING"." International Journal of Research - GRANTHAALAYAH Composition of Colours, December,2014 (2017): 1–4. https://doi.org/10.5281/zenodo.887559.

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Indian miniatures are in the art world a class by themselves. ‘Miniature’ generally refers to a painting or illumination, small in size, meticulous in detailing and delicate in brushwork1 . Indian Miniature Painting has a long history of over thousand years and presents a comprehensive record of the religious and emotional feelings of the Indian people. These paintings show the Indian genius in its pure form. Its inspiration is rooted in the people’s hearts, keeping close to their poetry, music and drama. The great merit of this art is the exquisite delicacy of drawing with decorative details.

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Dr Balbinder Kumar. "Prakratik Manviya Pravratti,Rangmay Srashti evam kalatamak samanjasyta maen varn samrenshad Bodh." Knowledgeable Research: A Multidisciplinary Journal 1, no. 1 (2022): 45–50. http://dx.doi.org/10.57067/kr.v1i1.105.

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The tradition of using color in Indian painting has been going on since ancient painting styles. These include Ajanta, Pala, Apabhransh, Mughal, Rajasthani and Pahari styles. In which lines and letters have been used in a very realistic manner and the environment of the picture has been made beautiful, an attempt has also been made to create a three-dimensional effect from the lines. In the journey from Ajanta to Pahari miniature painting, there has been a lot of innovation and development in the varna tradition

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Dr., Mantosh Yadav. "KANGRA ART IN THE COURTYARD OF JHANDA DARBAR, DEHRADUN-A CONFLUENCE OF MYTHOLOGY, NATURE, AND AESTHETICS." SSAR Journal of Arts Humanities and Social Sciences (SSARJAHSS) 2, 2025, no. 3 (May-Jun) 5025 (2025): 100–104. https://doi.org/10.5281/zenodo.15578133.

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<strong>Abstract:</strong><strong> </strong>Guru Ram Rai Darbar Sahib, also known as Jhanda Darbar, is a historic Gurudwara located in Dehradun, renowned for its exquisite Kangra paintings, which are nearly 400 years old. These paintings intricately depict mythological stories and natural landscapes with fine and delicate lines, brought to life through soft and enchanting color combinations. The colors used in these paintings are derived from natural sources, including minerals, plants, and other organic materials. The preparation of the painting surface involves a meticulous process where the

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8

Morris, Rekha, та J. Jain-Neubauer. "The Rāmāyaṇa in Pahari Miniature Painting". Journal of the American Oriental Society 105, № 4 (1985): 789. http://dx.doi.org/10.2307/602781.

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Mousavi, Atefeh Seyed. "Mīrzā ʿAbd al-Razzāq Faġfurī: Master of Persian Tilework in the Late Qajar and Early Pahlavi Period". Journal of Material Cultures in the Muslim World 5, № 1-2 (2024): 92–133. https://doi.org/10.1163/26666286-12340057.

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Abstract Mīrzā ʿAbd al-Razzāq Faġfurī was the most prolific tile-painting artist in Shiraz of the late Qajar and early Pahlavi periods. Exercising a great influence on subsequent tile artists, he became an identification figure of Qajar narrative tilework and contributed decisively to the visual culture of the Qajar period. This study investigates ʿAbd al-Razzāq’s life and career, his signature work, his traditional tile workshop and his main apprentices. It classifies and analyzes the themes and narratives depicted by ʿAbd al-Razzāq on the tile panels and explores his unique visual vocabulary

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10

Ali, Salmah, Haslinda Abdul Razak, Shaliza Dasuki, and Baharim Khusil @ Samuri. "Exploration of Lines in Landscape Painting and Architecture." International Journal of Art and Design 8, no. 1/SI-1 (2024): 104–16. http://dx.doi.org/10.24191/ijad.v8i1/si-1.2523.

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Lines are one of the six basic elements in art that are the most dominant and important in the production of works of art. A line is a connection from point A to point B or points connected with a certain distance. Lines also play a very important role in creating looks, shapes, weaves, movements, tones, and patterns. The visual existence of the art of painting is because it is processed using a variety of lines with distinctive line-type characteristics. This study aims to analyze the function of lines that can create the illusion of light and shadow and translate the psychology of lines to h

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Dr. Balbindra Kumar (Research Scholar). "Traditional method of preparing accessories for Pahari miniatures." Knowledgeable Research: A Multidisciplinary Journal 1, no. 08 (2023): 68–75. http://dx.doi.org/10.57067/kr.v1i08.108.

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In Indian miniature painting the artists use the same techniques and materials. They usually draw on a piece of paper or on a special board. Sometimes they apply a layer of white chalk on the wall before drawing. Then they paint over that layer and start adding color. Every artist has their own way of doing it. Some artists finish one section before moving on to the next, while others add all the colors at once and correct any mistakes later. Before starting, they place the picture upside down on a smooth stone and tap it with a special conch shell or stone. This makes the colors smoother and

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12

Shukla, Anshuli. "SIGNIFICANT CONTRIBUTION TO THE PAINTING OF COLORS." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3672.

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Since prehistoric times, colors have been the mainstay of painting. The role of colors in painting reveals charm and beauty. Generally, nature is a mine of colors. According to scientists, colors originate from sunlight, which combines colors. The combination of colors is visible in many styles under Indian art such as Ajanta style, Pal style, Apabhramsa style, Rajasthani style, Mughal style, Deccan style, Pahari style etc. Similarly, painting of Kerala also plays a special role in the context of painting colors of South Indian states. In which first of all the pictures painted in the cavity t

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13

Gupta, Divya, and Dr Om Prakash Mishra. "Love: Emotion Through the Lens of Pahari Miniature." REVIEW JOURNAL PHILOSOPHY & SOCIAL SCIENCE L, no. 1 (2025): 103–9. https://doi.org/10.31995/rjpss.2025.v50i01.014.

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Miniature is a detailed illustration or work done on small surfaces. Its main beauty is fine line, focus on minute details. From manuscripts to miniature paintings, each period has its specific impact and impression on it. Pahari miniature is among them, which was flourished in the hilly region of the Rajput hills of the Himalayas. The religious themes, literary works, and the beautiful landscapes of the hills fascinated Pahari artists, which was visible in their miniature works. Through their art they not only composed the figures and elements but also expressed the emotions through it. The w

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14

Agrawal, Sujata. "INDIAN MINIATURES (PAHARI PAINTINGS A STUDY OF INDIAN LANDSCAPES, SOCIAL LIFE AND LOVING SONGS OF GEET GOVINDA)." ARTS ACADEMY 2, no. 2 (2022): 119–26. http://dx.doi.org/10.56032/2523-4684.2022.2.2.119.

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The article highlights the history of the Indian miniature as a carrier of unique cultural information. The author considers the artistic miniature not only as a special genre of Indian culture, but also as a means of transmitting social traditions, culture, values, including religious ones. Pahari and Kangra miniatures are considered under the direct influence of the topos, in the context of their historical and chronological development. The author gives a commentary on each miniature, its color painting, highlights the main themes and images, connects local motifs with the history of the co

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15

Dr Balbinder Kumar. "Sikkh sanrakshan maen Pahari Chitarvanshiy Shaeliyon ke samanjasy se Sikkh Shaeli ka vikash." Knowledgeable Research: A Multidisciplinary Journal 1, no. 3 (2022): 55–59. http://dx.doi.org/10.57067/kr.v1i3.106.

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The Sikh style is unique due to its individual characteristics, which evolved from the Mugal style, a blend of Rajasthani, Iranian, Mughal, and European styles. It features subjects like proliferate, nihangas, Punjabi women, women's clothing, cooking, and other special subjects. The collection of these paintings is collected from the Chandigarh Museum.

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16

Arora, Rohini. "EMBROIDERED CHOLIES OF PAHARI REGION: A TECHNICAL STUDY." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (2022): 41–61. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.68.

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Pahari embroidery was practised in different parts in undivided Punjab and Himachal Pradesh. The surface ornamentation of these articles with respect to design, raw material and technique were beautifully adapted according to their utility. The popular product in embroidery is Chamba rumals locally known as dhaknu or chabbu. In addition, equally fascinating embroidery was seen on household products which were meant for personal use and decoration in single sided stitches. The most startling are cholies from Himachal Pradesh in terms of their construction and designs. The cholies from given mus

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Dr Balbinder Kumar. "Pahari Shaeliyon ke laghu Citran Hetu Rang Taeyar Karne Ki Paramparik Varn Vidhi." Knowledgeable Research: A Multidisciplinary Journal 1, no. 06 (2023): 76–81. http://dx.doi.org/10.57067/kr.v1i06.107.

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Preparation of colors The names of the colors in the combination of Pahari paintings were often written on the blueprints by the painters for memory. In fact, these are shades of colors like:- Badami-like the color of almonds, Cherai-the color of the face, Lajvardra-this is blue color. For example, if the pigeon is almost the same gray color. In doves, it is necessary to have red freckles in that gray complexion. The vegetable will be dark green and the pistachios will be of pistachio color. Some others like this are parrot, coral, melon, toru-flower, purple, rose, ginger, amber, Kiran, vermil

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18

Junu Maiya Basukala & Sanjeep Maharjan. "Animal Portraiture in the Shah and Rana Era." SIRJANĀ – A Journal Of Arts and Art Education 10, no. 1 (2024): 48–63. http://dx.doi.org/10.3126/sirjana.v10i1.68691.

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In the art history of Nepal, the portrayal of animals was never the primary subject until the late medieval period. But animals were depicted as mount of gods and goddesses incommon practice. Independent animal portraitures are seen for the first time in the Shah period. In the National Art Museum of Bhaktapur, a collection of forty-eight distinct animal portraits has been available. There are two types of animal portraiture: mythical creatures and natural fauna. Mythical beings are śārdūla, simha, śarabha, and vyāla, whereas natural fauna are wild animals available in Nepal. Mythical creature

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19

Inam, Ameed. "Influence of Arts and Crafts on Indian Architecture Styles." Journal of Architecture and Civil Engineering 09, no. 12 (2024): 15–20. https://doi.org/10.35629/8193-09121520.

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The rich tapestry of Indian architecture is profoundly influenced by its diverse art and craft traditions, which have evolved over centuries. This paper explores the symbiotic relationship between arts and crafts and the architectural styles of India, examining their historical significance and contemporary relevance. It delves into traditional forms such as intricate stone carvings, frescoes, woodwork, and metal crafts that have shaped iconic structures, from ancient temples to Mughal palaces. The study further investigates how regional art movements, like the Pahari miniatures and Madhubani

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20

Bania, Dimpy. "EXPLORING KRISHNA’S DEPICTION IN PAHARI SCHOOL OF PAINTINGS AS ARTISTIC EXPRESSION." ShodhKosh: Journal of Visual and Performing Arts 5, no. 6 (2024). http://dx.doi.org/10.29121/shodhkosh.v5.i6.2024.1444.

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The Pahari School of miniature paintings is an art tradition that flourished in the hilly regions of North India, particularly in the present-day states of Himachal Pradesh, Jammu and Kashmir, and Uttarakhand. This school of painting emerged in the 17th century and flourished under the patronage of various rulers and nobility.This research attempts to explore Krishna’s depiction in Pahari school of paintings to examine how these artworks symbolize artistic creativity and devotion. The study centres around the portrayal of Krishna to unveil the artistic interpretation of Krishna narrated in rel

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21

Ханда, О. Ч. "Pahari miniature schools." Искусство Евразии, no. 1(1) (November 28, 2015). http://dx.doi.org/10.25712/astu.2518-7767.2015.01.002.

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Статья посвящена исследованию миниатюрной живописи в районе Гималаев живописи школы Пахари. В фокусе внимания автора становление и развитие этой художественной традиции в искусстве Индии, а также особенности техники, стилистические и тематические разновидности миниатюры на бумаге и вышивной живописи. The article is devoted to the study of miniature painting in the Himalayas the Pahari Miniature Painting school. The author focuses on the formation and development of this artistic tradition in the art of India, as well as the features of technics, stylistic and thematic varieties of miniatures o

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Singh, Nirupama. "THE ART OF CAPTURING IMAGINATION IN CONTEMPORARY PAHARI MINIATURES." ShodhKosh: Journal of Visual and Performing Arts 3, no. 2 (2022). http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.185.

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The idea and concept of Pahari miniature paintings ideally revolve around the narration of a historical story from a native region in Indian traditions. These paintings are a blend of Bhasholi and Kangra miniature paintings. The artists belonging to this field painted historical subjects of their local areas such Radha-Krishnaji, Saraswatiji etc. These Pahari miniatures flourished from the second half of the seventeenth to mid-nineteenth century in the Himalayan foothills. It was the simplicity of Basholi in poetic lyricism and refinement of Kangra in the ingenuity of the artist’s style that m

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23

Mukherjee, Pradipta. "EKPHRASTIC POETRY AND INDIAN MINIATURE PAINTINGS: ARTISTRY AND AESTHETICS OF DEBASISH LAHIRI’S TETHER THAT LIGHT." ShodhKosh: Journal of Visual and Performing Arts 4, no. 1 (2023). http://dx.doi.org/10.29121/shodhkosh.v4.i1.2023.284.

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For an internationally acclaimed Indian English poet, Debasish Lahiri, time is a recording of the lingering of light, in nature, in the mind. His recent collection of poems, Tether that Light (2022) is an attempt to follow that trail of light left in selected Indian miniature paintings, particularly Mughal, Rajasthani, Pahari, and Deccani paintings. The intricate artworks and enchanting visuals of these incredible canvases have enthralled the poet who uses the treasure trove of Indian miniatures that work as intertexts for his ekphrastic collection of poems. Given the pictorial effect of words

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24

Agrawal, Vrinda. "From Private to Public: The Movement of Pahari Paintings from Royal Collections to the Chandigarh Museum in Post-Independence India." Ars Orientalis 54 (December 19, 2024). https://doi.org/10.3998/ars.7033.

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The Government Museum and Art Gallery of Chandigarh was established to fill a cultural vacuum in post-partition Punjab. It received the seed of its collection from Lahore and the rest was amassed by M. S. Randhawa (1909–1986), an Indian Civil Service officer with a love for painting that at the time was identified as “Kangra” for its style and association with the eponymous region and kingdom. In the 1950s, he spent considerable time traveling in the western Himalayas, tracking down paintings and acquiring them for the museum. The many volumes of correspondence that he later bequeathed to the

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25

Yuniawan, Hanung Bramantyo, and Marzuki Marzuki. "NILAI-NILAI PENDIDIKAN KARAKTER PADA MAKNA LUKISAN PETRUK DADI RATU, SEMARE KALING-KALINGAN MEGA KARYA SUBANDI GIYANTO." Jurnal Pendidikan Karakter 10, no. 1 (2020). http://dx.doi.org/10.21831/jpk.v10i1.26189.

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Wayang yang merupakan salah satu kekayaan intelektual menyatu dan menjadi bagian dari kehidupan masyarakat Jawa. Wayang juga menjadi sumber inspirasi sehingga masyarakat mengapresiasinya dalam bentuk lukisan wayang Penelitian ini bertujuan untuk mendeskripsikan makna lukisan wayang karya Subandi Giyanto berjudul Petruk Dadi Ratu, Semare Kaling-Kalingan Mega terkait dengan pendidikan karakter. Penelitian ini merupakan penelitian kualitatif. Interpretasi data menggunakan metode semiotika Pierce. Objek material penelitian yaitu lukisan Petruk Dadi Ratu, Semare Kaling-Kalingan Mega. Objek formalny

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26

Gupta, Sheril. "PORTRAITURE OF ASHTA-NAYIKAS DESCRIBED FROM RASIKPRIYA IN PAHARI STYLE." ShodhKosh: Journal of Visual and Performing Arts 5, no. 5 (2024). http://dx.doi.org/10.29121/shodhkosh.v5.i5.2024.1011.

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'Rasikpriya Granth' is a supramundane representation of Ashta-Nayika poetry. This awe-inspiring genre has diffused love in Pahari areas. In order to propagate the beauty of Rasikpriya, the Eight Nayikas imbued in 'Shringar Rasa' have been depicted in an emotionally charged manner by the contemporary poet Keshavdas. Pahari painters inspired by the poesy have expressed the youthfulness of these Nayikas in a charmingly artistic way. Accordingly, the painters have manifested their abstract feelings and enlivened the Ashta-Nayikas through their ideational strokes. It seems that every little particl

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27

Das, Aloke. "A STUDY OF SCROLL PAINTING IN INDIAN ART WITH SPECIAL REFERENCE OF WEST BENGAL FOLK ART." ShodhKosh: Journal of Visual and Performing Arts 4, no. 2SE (2023). http://dx.doi.org/10.29121/shodhkosh.v4.i2se.2023.485.

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Paintings by patua women exploring various themes are currently found in museums and private collections worldwide. They have recently been on display at museums, galleries, art markets and fairs in various parts of the world. Today’s patua women have participated in a wide range of artistic and social projects, and some have been either the central or secondary subjects of academic research. In recent decades the dissemination and recognition of these women’s work have been impressive. This is particularly true not only in terms of its global reach, but also from the perspective of the divers

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Hassan, Salama Hamed Ali. "An analytical vision of using Indian yellow in the Mughal painting school and Pahari school (11-13AH / 17-19 AD) and its impact on European painting." أبيدوس, February 6, 2025, 138–73. https://doi.org/10.21608/abidus.2025.410613.

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Desvergnes, Amélie Couvrat, and Agnieszka Helman-Ważny. "Sialkoti paper used by Pahari artists: raw materials and fibre analysis." Heritage Science 12, no. 1 (2024). http://dx.doi.org/10.1186/s40494-024-01360-9.

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AbstractThis study aims to characterise the so-called Sialkoti paper used to produce Pahari drawings preserved today in the Wereldmuseum in Leiden (Netherlands) (WML). These works originate from the Punjab Hills in India (today Himachal Pradesh) and are commonly known as ‘Pahari miniature paintings’. The paper upon which these drawings are executed is said to have been produced in Sialkot during the eighteenth and nineteenth centuries when papermaking was an integral part of an overall regional economy correlated with other sectors such as agriculture and the textile industry. Although the ter

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