Guler

Etymology: 'Guler' is a derivative of the word gwala which means a herder. Formerly, this art form was named Gwaler which translates to the place of the cowherd.

Origin: The Guler school of painting is commonly referred to as an ancient style of Indian painting. This style flourished between 1450 A.D. to 1780 A.D. under the different rulers of this kingdom.

Location: Guler was a small State in the Punjab Hills, and its capital was Haripur, a town, in modern-day Himachal Pradesh.

Community: The artists were greatly influenced by the Kings and the marriages which gave rise to new paintings, the Mughals had a great influence on Guler painting, Rajput paintings also reflected on the Guler miniatures from the 18th to 19th centuries, and Sikh power in the 19th century.

Relevance: Under the influence of Rajasthani art and the Mughal miniature style, Guler's miniatures went through various stages of development. Guler, where the Pahari School originated, had a profound impact on other Pahari schools, including Kangra. The Sikh way of life also impacted Rajput-Sikh miniature paintings from Guler.

Historical background: Artists appear to have been present in Guler by the end of Dalip Singh's reign. The famous family of Pandit Seu, particularly his young son Nainsukh, were a few of the many outstanding artists in this court. In the mid-18th century, the artists retired or moved away to other kingdoms like Kangra. Kangra Kalam is said to have its origins in the Guler School.

Culture and Societies: The 18th-century growth of Pahari paintings was significantly influenced by the state of Guler. In addition to creating delicate artworks, it also gave birth to the Kangra style when it was brought into the valley around 1780. Guler Miniature School incorporates Mughal influence. As the Sikhs took up the rule of a united Punjab, later painters increasingly relied on the Sikh courts for patronage.

Religious significance: The painters produced artwork using themes from Indian stories and poetry. Paintings of the Bhagwat Purana, the romantic story of Nala- Damyanti, the Gita Govinda, Jaydeva's Sanskrit love poetry, Bihari's Sat Sai, and others were produced. The Vaishnava and *Rajput style depictions were well-known among the artists of the Guler School.

Legends or myths: Pahari artists' favourite themes included Punjabi romances, Sassi-Punnun, *Heer-*Ranjha, and Sohni-Mahiwal.

Central motifs and their significance: Romance between Krishna and Radha, which is considered a symbol of heavenly love, is a defining characteristic of Guler's paintings. Along with royal portraits and court scenes from the Sikh, Rajput, and Guler royals, the epics of Ramayana and Mahabharata were utilised as themes in these miniatures. These Pahadi paintings made a huge stylistic impact by creating paintings from the surrounding greenery and nature as well as the ancient religious texts.

Medium used: Paintings in Pahari miniatures are done on handmade paper from Sialkot. The paintbrushes are made from squirrel hair. Stone is used as a tool for burnishing the paper coated with the khadiya and gond mixture. Mineral colours, vegetable extracts, dyes and indigo are used. Gold and silver foils known as varakh are used to enhance borders and add embellishments.

Style: In Guler Kalam of Pahari school, the forms are neat and distinctly painted. Romanticism is abundant and heavily emotional. The meticulous lines are blended with vibrant colours. Like many of the Pahari Bhagavat paintings, Guler appears to have less Mughal influence.

Process: The designs are visualized by the artist and drawn with a pencil on handmade paper. Paints are filled up accordingly in the areas and the outline is done with black paint. An average-sized painting takes one to two weeks to complete. In contrast to portraits, where dark colours are employed initially, paintings start with the lightest colour and end with the darkest. Painting systematically, the foreground is painted before and then the background is filled in. The painting is also coloured starting from the top and ending on the bottom half of the piece.

In 2009, internationally acclaimed miniature painting artist and Padma Shri awardee Vijay Sharma got famous some of which have been displayed in Europe and the United States. To honour Gulzar during a conference in the state, the Himachal Pradesh government asked Vijay ji to make a miniature painting for the occasion. Vijay Sharma ji is credited with not only preserving the 300-year-old Pahari art form that was on the verge of disappearing. He runs NGO Shilpa Parishad which works for advancing this art form.

1. Goswamy, B.N.(1968) Pahari Painting: the family as the basis of style, Marg Publication, XXI, no. 4, 17-62.

2. Randhawa, M. S., Randhawa, D. S. (1982) Guler Painting. New Delhi: Publications Division Govt. of India.

3. Randhawa, M. S. (1953) Guler the birthplace of Kangra Art, Marg, VI, no. 4, 30-42.