VISIONS OFMUGHAL INDIAOther Pahari works <strong>of</strong> the late seventeenth century fall betweenthese stylistic extremes. A pair <strong>of</strong> vibrantly coloured portraits <strong>of</strong>Basohli rulers adapt the Mughal portrait convention <strong>of</strong> a rulersmoking a hookah and make <strong>of</strong> it something altogether different.<strong>The</strong> red borders and other strong primary and secondary colours,together with boldly assertive carpet and textile patterns, createan atmosphere more intense than serene. Detail <strong>of</strong> Marriageprocession in a bazaarMandi, Punjab Hills,c.1640–50Hodgkin has collected a few paintings <strong>of</strong> Hindu gods andmythological themes, such as Brahma or the Tantric goddessBhadrakali, but their iconography or symbolic meaning have notinterested him very much, only their effect as works <strong>of</strong> art. Aquasi-mythological genre that has attracted him particularly, in itsearly Pahari forms at Basohli and other courts, is that <strong>of</strong> Ragamala(‘Garland <strong>of</strong> Ragas’). <strong>The</strong>se series <strong>of</strong> illustrations depicting theragas, the musical modes <strong>of</strong> North India, and their ragini ‘wives’were conceived as representing the essential spirit or ethos<strong>of</strong> each mode, as originally expounded in musicological texts.In the Hill schools, Ragamala images tend to be small, squarishand compactly composed, with strong red borders and yellowor other coloured grounds. <strong>The</strong>ir textually prescribed dramatispersonae are usually two or more figures <strong>of</strong> men, women, animals,snakes, gods or yogis, engaged in a wide diversity <strong>of</strong> decorousbut emotionally charged psychological or physical encounters.Sometimes these tautly conceived engagements <strong>of</strong> figures aredevotional or heroic in feeling; more <strong>of</strong>ten they tend to the erotic. Kedara Raga:Ascetics making musicArki, Punjab Hills, late-17th century<strong>The</strong> resurgence <strong>of</strong> imperial painting under Muhammad Shah(r.1719–48) brought a further wave <strong>of</strong> refining Mughal influencesto the Hills in the second quarter <strong>of</strong> the eighteenth century,disseminated especially by wandering painters <strong>of</strong> the Gulerschool. <strong>The</strong> unfinished yet dramatic painting <strong>of</strong> the monkeyAngada’s leap to Ravana’s golden fortress, from the Siege <strong>of</strong> Lankaseries <strong>of</strong> c.1725, reveals Hodgkin’s interest in uncompleted works8www.ashmolean.org
VISIONS OFMUGHAL INDIAfor their disclosure <strong>of</strong> the artist’s first ideas andworkings. It is also – like so many <strong>of</strong> his Indianpictures — a work <strong>of</strong> unusually large size.<strong>The</strong> most gifted Pahari artist <strong>of</strong> the mideighteenthcentury was Nainsukh <strong>of</strong> Guler.For much <strong>of</strong> his career he worked for theminor nobleman Balwant Singh <strong>of</strong> Jasrota,and the unusually close understanding thathe developed with his patron is evident in hismany intimate and psychologically revealingstudies <strong>of</strong> the Raja’s daily life. One <strong>of</strong> the twoworks in the collection certainly attributableto Nainsukh is the elongated hunting scene,in which Balwant Singh and other nobles onhorseback surround a huge and defiant tiger.Other slightly later works, either by Nainsukhor his close followers, are the Disrobing <strong>of</strong>Draupadi, a restrained and elegant rendering <strong>of</strong>a famous scene <strong>of</strong> thwarted sexual humiliationfrom the Mahabharata, set against a boldlystriped durree; and a sensitive fragmentarystudy <strong>of</strong> some Pahari travellers singing by thewayside. Balwant Singh hunts a tigerGuler, Punjab Hills, c.1750. Attributed to Nainsukh9www.ashmolean.org