Etymology: Basohli paintings or Basohli 'kalam', gets their name from the place of their origin.
Origin: Basohli is a small town based in the region of Jammu.
Location: The town of Basohli is situated along the banks of the river Ravi in Jammu. This decorative traditional style of paintings is spread throughout the regions of Mankot, Jasrota, Chamba, Nurpur, Bilaspur, Kullu, and Mandi.
Community: One of the themes of Basohli miniatures, Rasamanjari, is based on poetry written by Bhanu Dutta. These poems are illustrated by the artist Devidasa from the Tarkhan community which has produced many such talented artists.
Relevance: Gita Govinda of 1730 is also believed to have Basohli origin. This style is known for borders on the coarseness of treatment as contrasted with the charming refinement of the Kangra pictures. Ramayana was illustrated in both Basholi and Kangra styles.
Background: Since Basohli was under the rule of many emperors, the miniatures depict a mix of themes, such as portraits of local rulers, Hindu Gods, characters from Hindu mythology, Krishna Leela, tales of Madhava-Malati, courting themes, and instances from the Bhagavata Purana.
Religious significance: The portraits of local kings, Hindu deities, figures from Hindu mythology, Radha-Krishna, Madhava-Malati love themes, and Bhagavata Purana themes are among the most well-known themes in Basohli paintings. The inspired artists of the Kangra and Basohli styles were paintings made in accordance with texts such as Bhagwad-Purana, Geet-Govinda, Sursagar, Rasikpriya, Bihari-Satsai, Nayika-Bheda, and Rag-Ragini.
Culture and Societies: Basohli-influenced Mankot paintings from Jammu and Kashmir include strong subjects and vibrant colours. Somewhere through the 17th century, portraits started to appear frequently. Hindu mythology, Mughal miniature skills, and local folk art were fused to produce Basohli paintings.
Legends or myths: A collection of poems from the 17th century called 'Rasamanjari' describes several characteristics of love. A poet by the name of Bhanudatta composed poems in Sanskrit. Three artists from the same family from Himachal Pradesh named Kripal, Devidasa, and Golu created paintings based on the poems shortly after they were written. In addition to Lord Krishna being the legend in Basholi paintings, this poem was seen to be incredibly emotional and served as the inspiration for the School's painting theme.
Central motifs and their significance: The perfect geometric pattern, figures in the paintings are shown clad in rich costumes that portray faces and large bulging eyes, and strong colours, slim features wide foreheads, elongated eyes, and angular noses are the striking characteristics. The hookah was a trademark in Pahari paintings. The 'chitera' or artist, would frequently be present at court and would pay close attention to the king and the nobles and they were the main protagonist in the Pahari paintings.
Mediums used: The base or canvas for the miniatures was a hard-to-source material called 'Veale paper' or ivory sheets were utilised. Natural brushes made from squirrel hair and feathers from the Kalmunha birds were used. The pigments were obtained from natural sources such as dried leaves, flowers, beetle wings, and khadiya mitti. To depict the ornaments, 24-carat gold and silver metals were used.
Style: Basohli miniatures amalgamate Hindu mythology, Mughal miniatures, and folk art. These paintings mainly are brightly coloured and glossy enamel. Human figures are clad in rich costumes, have lotus-shaped half-closed eyes, and are shown to have receding foreheads. The background is usually a stylized landscape with rounded trees and often well-composed architecture is also illustrated. Hues of colours such as red, blue, and yellow are extensively employed.
Process: Basholi paintings are expensive and one of a kind since they are created on hand papers like 'Wasli' or ivory sheets and use 'Takri' for the top borders and liquid gold for the figures and highlights. Crushed stones are mixed with water to create a paste that is then used as paint colours while creating Basohli artwork. 'Kalmunha' bird feathers, colours carefully made from dried leaves, flowers, beetle wings, and Khadiya earth, also 24 karat gold and silver are used to decorate and finish the Basholi painting.
To better understand the various aspects of 'rasa' in literature and to explore the concept of 'Nayaka-Nayika bheda', artists from the Artists International Development Fund of the British Arts Council have formed a collaboration with Bharatanatyam dancers.
The project uses the Sanskrit text 'Rasamanjari', its both textual and visual commentary (Basohli paintings), and dance choreography to develop new knowledge and eventually present it. This will be presented to the public in Mexico City.
Randhawa, M.S., and Bhambri, S.D. (1981). Basohli Paintings of the Rasamanjari. Abhinav Publications.
Simha, C. (1982). Centres Of Pahari Painting. New Delhi: Abhinav Publications.