Art.Artists KANGRA PAINTING

BRAND HIMACHAL Kangra Painting in Search of Patronage

 himachal ki shaan....201          (Cover story)

The pictorial art of Kangra is one of the finest gifts of India to the art-world. It originated in a small hill state ‘Guler’ in lower Himalayas in 18th century when a family of Kashmiri painters trained in Mughal Style of painting sought shelter at the court of Raja Dalip Singh of Guler. The new arrivals mingled with the local artists and were greatly influenced by the atmosphere of the hills. The artistes adopted themes of eternal love between Radha and Krishna. Verdant greenery of the landscape, brooks, springs were the recurrent images on the miniatures. This style reached its zenith during the reign of Maharaja Sansar Chand Katoch (1776-1824) who was a great patron of Kangra art. Currently, Kangra painting faces the challenges unorganized marketing though people across globe have a taste for this unique Indian art form practiced in Kangra district and its surrounding areas in Himachal. The Kangra Arts Promotion Society (KAPS), Dharamshala is working for its conservation and promotion, passing on the art form to next generation and helping in streamlining marketing by holding exhibitions at various places including foreign countries. However, Kangra paintings need government patronage for its conservation and branding that will give a tremendous boost to this art form, feel experts in this field.

KAPS Promotes Art, Artists

Kangra Arts Promotion Society (KAPS) is an NGO working for the promotion of arts of the greater Kangra region which comprises the current district of Kangra and surrounding areas that were once ruled by the Kangra Dynasty. Kangra was a flourishing empire and a renowned center of culture for the last millennium. It went in decline after the invasion of Mahmud of Ghazni in 1009. A revival started in late 14th century and the arts of Kangra reached their peak of glory with Kangra Miniature Paintings in the 18th century.

The KAPS is trying to get a trademark for Kangra paintings that will help in its branding and boost marketing that will encourage artists of this unique art form

-Dhani Ram KAPS Master Trainer

KAPS Objectives

*  Preservation of the arts of Kangra

*  Encouragement of existing artists.

* Starting a school to teach the arts of Kangra.

* Building a treasure of old and new paintings for posterity

Unorganised Market

Painters practicing Kangra painting are unable to subsist on this alone due to a lack of proper marketing opportunities because they are unable to make contact with potential buyers. On the other hand, buyers don’t have a place from where they can buy authentic and quality Kangra miniatures. Most of the paintings are sold on consignment basis. The KAPS has opened ‘Chitera’- an institute of Kangra painting at Museum of Kangra Art at Dharamshala whose prime concern is to train budding painters in the tradition of Kangra School of painting in ‘Guru-Shishya parampara’ and also to provide a centre for the sale of authentic and quality Kangra paintings. Currently, six students receiving monthly stipend of Rs 1,500 are enrolled with KAPS whose classes are being held at Chamunda temple.

Efforts to get Trademark

The KAPS is working at different levels to preserve art of Kangra painting and promote painters by providing them a centre for sale of their products. A beginner gets about Rs. 1,500 for a Kangra painting whereas established painters fetch price ranging from thousands to lakhs of rupees in international market. The society is trying to get a trademark for Kangra paintings that will help in its branding and boost marketing, says Dhani Ram, master trainer KAPS and member of its committee to get the trademark

Order from Reliance Company

The society has received an order from Reliance Industries that intends to purchase 20 paintings. The paintings will be prepared on Nal Damyanti series with each of them costing around Rs, 20,000, says Dhani Ram. Notably, it will take around two weeks to prepare each painting.

 What Needs to be done…?

What is the present status of Kangra paintings?    

 How Kangra paintings can be branded?

 How its marketing can be promoted?

*  Kangra paintings are famous in abroad but remain neglected in Himachal because we have not paid attention for conservation of this art and promotion.

 *   A tourist comes to Himachal and finds only Shobha Singh Art Gallery only in the name art. No art form can survive without government’s patronage. Tibetans-in-exile have conserved their art and culture but very little efforts have been done to promote Kangra paintings except for formation of Kangra Arts Promotion Society.

 *  Marketing is very simple. The government should have show windows for Kangra paintings in HPTDC’s hotels, at least at Dharamshala, Manali and Shimla. An art agency should purchase Kangra paintings to encourage artists. Famous art forms of Himachal should be displayed to promote their marketing.

*   Kangra painting art form is very painstaking because these have shelf life, according to me, of more than 500 years and even more.

 *   The government can help by initiating concrete steps for its promotion and branding. There should not be any political interference in implementation and follow up of projects to conserve and promote art forms.

 *   Proper advertisement is required for enhancing Kangra painting’s marketing that don’t have much value at local level but has more opportunities globally. Two big companies are controlling this field but Kangra paintings, if advertised properly, can leave Modern Art behind. People across countries have a taste for this unique Indian style of painting that is prevalent in Himachal.

Sikh Gurus in Kangra Paintings

Om Prakash Talk of Dharamshala has depicted various stages of the 10 Sikh Gurus in Kangra style of paintings for the first time. Preserving the unique style of painting, I have not only created miniature paintings of the Gurus but also of Christianity, Tak told HTW. He has achieved this distinction after many years of research.

A Hidden Pearl of Chamba Painting

(This story is based on the interview by Prof. N.K. Singh, who is also an historian, artist and critic. He has exhibited his paintings in India and abroad and authored books on young artists jointly with M.F. Hussain. His recent work of art history published under the caption of ‘Coronation of Shiva’ was acclaimed and used by Himachal Government for Masrur Temple revival.)

 Kangra Painting is the genere which represents most of the North hill states and covering Chamba, Nurpur, Guler, Kangra, Mandi, Bilaspur and Kullu. Old states promoted artists and their work mostly centered round the patronage of the Rajas. Chamba paintings date back to 17th to 19th century. Earliest evidence is around 1670. Lehru and Prem Lal, two  families could be identified as no history of artists existed in Indian system. Prem Lal’s family migrated from Gujarat and that accounts for Gujarat or Malwa influence on Chamba painting. The influences, however, got mingled with Basholi and Mughal influence can be noted. Initially Mughal prevailed but gradually a distinct and identifiable Rajput art in Himachal could be observed.   Guler was the kernel of painting blossoming with the genius of Nainsukh and his brother Manaku who proved highly creative artists. In Chamba, Prem Lal’s two sons Amin Chand and Hans Raj painted. Amin Chand is one of the few artists left in Himachal who represents pure Pahari style in its precise traditional form of Chamba. It is painstaking and fine work which entails long hours and days. Many artists now follow more commercial and short cut methods. Amin Chand has no website and not keen to reach out to patrons and promoters but quietly paints in his house. His is a lonely pursuit of pure art. Although most of the paintings, except many of Guler, are replications of earlier masters, yet he claims to have some original work too. There should be a research effort to find and trace such artists who have family connection with masters and develop more accurate dating and promotion of their work. As artist do not sign their work; it is a difficult and arduous effort to place their identities. Present day school trainee product is mostly standardised fast work and does not do justice to real art form. We need to preserve the genius and spirit of heritage art.

(As told by Prof N.K. Singh)