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Kangra painting is the pictorial art of Kangra, named after Kangra, Himachal Pradesh, a former princely state, which patronized the art. It became prevalent with the fading of Basohli school of painting in mid-18th century,〔(Kangra school of painting ) ''Footprint India'', by Roma Bradnock. Published by Footprint Travel Guides, 2004. ISBN 1-904777-00-7.''Page 512''.〕〔(Kangra painting ) ''Britannica.com''.〕 and soon produced such a magnitude in paintings both in content as well as volume, that the Pahari painting school, came to be known as Kangra paintings.〔(Pahari centres ) ''Arts of India: Architecture, Sculpture, Painting, Music, Dance and Handicraft'', by Krishna Chaitanya. Published by Abhinav Publications, 1987. ISBN 81-7017-209-8. ''Page 62''.〕 Though the main centre of Kangra paintings are Guler, Basohli, Chamba, Nurpur, Bilaspur and Kangra. Later on this style also reached Mandi, Suket, Kulu, Arki, Nalagarh and Tehri Garhwal (represented by Mola Ram), and now are collectively known as Pahari painting.〔(Chandigarh Museum - Kangra paintings )〕 Pahari paintings, as the name suggests, were paintings executed in the hilly regions of India, in the sub-Himalayan state of Himachal Pradesh. It is in the development and modification of Pahari paintings, that the Kangra School features. Under the patronage of Maharaja Sansar Chand (c.1765-1823), it became the most important center of Pahari painting. To see some of these master pieces one can visit the Maharaja Sansar Chand Museum, adjoining the Kangra Fort in Kangra Himachal. This museum has been founded by the erst-while Royal Family of Kangra. Kangra paintings belong to the school of Pahari paintings that were patronized by the Rajput rulers between the 17th and 19th centuries. ==History== This great art originated in Guler State, a small hill state in the Lower Himalayas in the first half of the 18th century when a family of Kashmiri painters trained in Mughal painting Style sought shelter at the court of Raja Dalip Singh (r. 1695-1741) of Guler. The rise of Guler Paintings started in what is known as the Early phase of Kangra Kalam. The new arrivals mingled with the local artists and were greatly influenced by the atmosphere of the hills. Instead of painting flattering portraits of their masters and love scenes, the artistes adopted themes of eternal love between Radha and Krishna. The paintings were naturalistic and employed cool, fresh colors. The colors were extracted from minerals, vegetables and possessed enamel-like luster. Verdant greenery of the landscape, brooks, springs were the recurrent images on the miniatures. Nainsukh (1710-1778), succeeded by two generations of his family workshop, introduced a distinctive style which combined Mughal elements with personal innovations. This style reached its zenith during the reign of Maharaja Sansar Chand Katoch (r.1776-1824) who was a great patron of Kangra art. Being a liberal patron, the painters working at his atelier received large commissions while others accepted a permanent settlement in the form of lands. Maharaja Sansar Chand was an ardent devotee of Krishna and used to commission artists to paint subjects based on the loves and life of Krishna. The Guler-Kangra art is the art of drawing and the drawing is precise and fluid, lyrical and naturalistic. In these styles the faces are well modelled and shaded so judiciously that they possess almost porcelain-like delicacy. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Kangra painting」の詳細全文を読む スポンサード リンク
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