The Pahari Schools of Painting

The historiography of Indian art represents a continuum of aesthetic evolution, stretching from the prehistoric rock shelters of Bhimbetka to the classical murals of Ajanta, Bagh, and Sittanavasal, and ultimately to the highly refined miniature traditions of the medieval and early modern periods. Among these miniature traditions, the Pahari school—translating literally as "from the hills"—occupies a distinct and revered position. Flourishing in the sub-Himalayan hill kingdoms of North India between the seventeenth and nineteenth centuries, this umbrella term encompasses the artistic output of twenty-two fiercely independent, yet culturally interconnected, Rajput principalities stretching from Jammu to Garhwal.

Characterized by a unique synthesis of indigenous folk vitality, Rajput chivalric traditions, and refined Mughal naturalism, Pahari miniature painting represents the pinnacle of lyrical expression in Indian art. Unlike the imperial Mughal school, which prioritized secular chronicles, realistic portraiture, and courtly grandeur, the Pahari tradition is fundamentally rooted in the spiritual ethos of the Bhakti movement. The central motif of Pahari art is the eternal romance of Radha and Krishna, utilized as a profound metaphor for the soul's longing for the divine. As artists migrated from the plains to the serene Himalayan foothills—precipitated by the decline of Mughal patronage and political instability following Nadir Shah’s invasion in 1739—the Pahari style matured from the bold, intense palette of Basohli into the musical, poetic grace of the Kangra school.

For the serious civil services aspirant and art historian alike, analyzing the Pahari schools requires transcending mere regional classifications. It necessitates an understanding of ancient Indian aesthetic philosophy, the exhaustive material science behind pigment preparation, the trans-regional mobility of artisan families, and the contemporary socio-legal frameworks, such as Geographical Indication (GI) tags, designed to protect this living heritage.

The Philosophical Foundations: Shadanga in Pahari Art

The conceptual framework of all classical Indian painting is anchored in the Shadanga, or the "Six Limbs of Painting," delineated by Vatsyayana in his third-century AD commentary on the Kamasutra. While these canons were formulated centuries before the emergence of the Pahari schools, the hill artists instinctively adhered to these principles, adapting them to the miniature format to achieve unparalleled narrative and emotional depth.

Material Culture and the Alchemy of the Atelier

The aesthetic triumph of the Pahari miniature was not solely a product of imaginative genius but also of an exhaustive, labor-intensive material science mastered within family workshops over decades. The creation of a single miniature was a collaborative, multi-stage endeavor requiring profound indigenous knowledge of botany, mineralogy, and chemistry.

The Preparation of the Ground: Wasli

Pahari miniatures were predominantly executed on wasli, a traditional laminated paper. The influence of Samarkand papermakers, brought to Kashmir in the fifteenth century, eventually permeated the hill states. The preparation of wasli involved gluing multiple thin sheets of paper together using a natural, flour-based paste known as laee or lei (often wheat flour boiled to a semi-transparent consistency, occasionally mixed with arrowroot for enhanced adhesion).

Once layered, the sheets were pressed under heavy weights to eliminate air pockets. The crucial final step was burnishing. Using a polished agate stone fitted into a wooden handle (ghoti), a seashell, or smooth glass, the artist rubbed the surface against a marble slab. This repetitive compression of the fibers resulted in a glossy, low-grain, near-enamelled finish. This specialized surface was essential; it prevented the water-based pigments from bleeding, allowed for the swift execution of microscopic brushwork, and ensured the longevity of the artwork.

The Extraction and Chemistry of Pigments

The vibrant, enduring colors of Pahari paintings, which retain their brilliance centuries later, were meticulously sourced from nature. The preparation of these colors was a closely guarded secret, passed from father to son.

• White (The Base and Highlighter): White was fundamental, used for priming, mixing lighter hues, and highlighting. Artists utilized ground conch shells, chalk (calcium carbonate), or complex chemical preparations of zinc and lead. To create zinc oxide, artists burned zinc (jist) and captured the fine smoke deposits on a clay plate, later mixing it with acacia (kikar) gum. Alternatively, to create white lead (sufaida), lead sawdust or leaves were soaked in acetic acid (vinegar) and left in a cool, damp place for weeks. The resulting lead acetic precipitate was painstakingly washed with pure water to remove all acidic traces that could otherwise degrade the wasli.
• Blue and Green: The deep, resonant blues characteristic of Kangra night skies were derived from Lapis Lazuli, imported at great expense from Afghanistan, which was hand-ground and washed in water to separate varying grades of fineness. For rich, translucent greens, artists utilized malachite or extracted botanical juices from Pui Shak (Malabar spinach) leaves. The leaves were pounded in a mortar; their natural mucilage created a thick, slippery consistency that, when mulled with Babul gum, flowed flawlessly onto the paper.
• Red, Yellow, and Pink: Red hues were sourced from Hingula (mercuric sulphide), vermilion, hematite, or red ochre (geru). The blazing, intense orange-yellow that dominates the backgrounds of early Basohli works was derived from orpiment, a naturally occurring arsenic sulphide. Botanical pinks and purples were achieved by vigorously rubbing fresh Bougainvillea bracts inside a natural seashell, allowing the cellular structure to break down and release a concentrated liquid pigment, while deep reds could be extracted from smashed beetroot. Delicate orange-yellows were sourced from the inner petals of the local Toona (Plah) flowers.
• Gold and Silver: To convey divine halos, royal jewelry, and architectural opulence, gold was beaten to an impossible thinness, ground into a powder, and mixed with gum. Applied with the finest brush, it was burnished post-drying with an agate tool until it achieved the mirror-bright shine of solid metal. Silver was occasionally used for moonlight or water, though it has oxidized to a soft grey in most extant works.

Brushwork and the Execution Process

The execution required brushes of unimaginable fineness, crafted from the tail hairs of squirrels, mongooses, or cats. The most delicate brushes, used for rendering the individual eyelashes of a Nayika or the veins of a lotus petal, contained as few as three or four hairs, demanding total breath control and absolute obedience of the hand.

The painting process was systematically layered. It commenced with a preliminary sketch in charcoal or light red. Frequently, a thin white wash was applied over this initial draft, leaving a faint ghost of the image, allowing the master artist to refine the composition with a precise, final underdrawing in black ink. Flat washes of color established the ground of each area, followed by rigorous modeling—layering lighter and darker tones to create volume, texture, and form. The master of the workshop typically reserved the final, critical stages for himself: the single-hair outlines of the faces, the expressions of the eyes, and the application of gold.

The Paradigm Shift: The Seu-Manaku-Nainsukh Lineage

For much of the colonial and early post-colonial period, scholars like Ananda Coomaraswamy and W.G. Archer classified Pahari paintings strictly by geographical centers—labeling them as "Kangra Valley," "Basohli," or "Guler" schools. However, a revolutionary historiographical shift occurred through the research of Dr. B.N. Goswamy. By meticulously tracing pilgrimage records at Haridwar and Kurukshetra, Goswamy established that the true vectors of stylistic evolution in the hills were not the courts themselves, but the highly mobile artisan families.

Because the political boundaries of the twenty-two hill states were highly fluid, attributing style to geography created chronological and aesthetic disparities. Instead, the family of Pandit Seu (Shiv) of Guler emerged as the central catalyst responsible for transitioning the Pahari idiom from the bold simplicity of Basohli to the poetic refinement of Kangra.

Pandit Seu and the First Generation

Pandit Seu established his family atelier in the small hill state of Guler in the early eighteenth century. Operating during the 1720s, Seu's early works largely conformed to the intense, flat, and fiery Basohli idiom, but gradually began to absorb the refined naturalism of Mughal artists who were seeking refuge in the hills.

Manaku: The Master of Narrative

Pandit Seu’s elder son, Manaku (c. 1700–1760), was a conservative yet brilliant practitioner who remained in Guler and largely adhered to his father's aesthetic foundation. Manaku is celebrated for his monumental narrative series, which retained the flat color planes of earlier Pahari art while introducing sharper observation and intricate detail. His most famous achievements include the 1730 Gita Govinda series, which captures the romantic mysticism of Jayadeva's poetry, and the Siege of Lanka folios from the Ramayana. Unfinished folios from the latter series uniquely reveal the charcoal, pale red, and ink underdrawing techniques utilized in the Guler workshop.

Nainsukh: The Revolutionary Observer

Nainsukh (c. 1710–1778), the younger son, represents a watershed moment in Indian art. Around 1740, Nainsukh left the family workshop in Guler and relocated to the court of Jasrota, where he formed a deeply intimate patron-artist relationship with Prince Balwant Singh.

Nainsukh radically departed from the inherited conventions of hill painting. Where older styles relied on saturated primary colors and stylized, generic faces, Nainsukh built his compositions on close, naturalistic observation, individualized portraiture, and a restrained, cool palette. He pioneered specific stylistic mannerisms: a preference for uncolored, pale grounds that allowed the pristine wasli to show through, a fine horizontal line separating ground from background, and the precise, accurate rendering of textiles and architectural spaces.

Crucially, rather than painting idealized mythological scenes, Nainsukh treated portraiture as a journalistic record. He painted Balwant Singh in highly specific, unguarded moments—writing letters, trimming his beard, listening to music, or preparing for bed. This frank depiction of ordinary royal life, executed with Mughal-inspired realism, transformed the Pahari aesthetic. Following Balwant Singh's death in 1763, Nainsukh carried his patron's ashes to Haridwar, leaving behind pilgrimage records containing his sketches, which later proved vital to reconstructing his life.

The Successors: Propagating the Kangra Style

The stylistic synthesis achieved by Manaku and Nainsukh was not lost; it was systematically propagated by their descendants. The "first generation after Manaku and Nainsukh" included Manaku's sons (Fattu and Khushala) and Nainsukh's four sons (Kama, Gaudhu, Nikka, and Ranjha). By the 1760s and beyond, these artists, along with their grandsons (such as Gursahai, Chhajju, Attra, and Deviditta), migrated to various courts including Kangra, Chamba, and Garhwal.

It was this extended familial network that birthed the mature "Kangra style" under the patronage of Raja Sansar Chand. The magnificent series of the Bhagavata Purana, the Nala-Damayanti romance, and the Sat Sai of the late eighteenth century are direct descendants of the conventions established by the Seu lineage. The survival of the "Devi Diagram"—an illustrated genealogical record of Pandit Seu's family from circa 1780, listing the hill states where the family worked—serves as definitive proof of this mobile, family-based artistic transmission.

Analytical Breakdown of the Pahari sub-schools

While the artist families provided the technical vocabulary, the unique tastes, religious inclinations, and geographical isolation of the various Rajput patrons led to the crystallization of distinct regional sub-schools.

1. The Basohli School: The Flamboyant Vanguard

Situated in the Kathua district of present-day Jammu and Kashmir, the Basohli school marks the dramatic initiation of the Pahari tradition. It flourished immensely under the enlightened patronage of Raja Kirpal Pal (1678–1695).

• Aesthetic Vocabulary: Basohli painting is defined by its primitive vitality, intense emotional vigor, and a boldly contrasting color palette. The canvas is typically dominated by warm yellows, deep reds, and vibrant greens applied in flat backgrounds. Human figures are heavily stylized, featuring receding hairlines, prominent noses, and large, expressive, lotus-shaped eyes.
• Architectural and Decorative Elements: Compositions often utilize square formats with double-story building structures, elaborate shikharas, and highly decorative borders. The most distinct feature is the three-dimensional portrayal of jewelry; artists embossed white paint to mimic pearls and meticulously pasted the wing-cases of green beetles to simulate the luster of emeralds.
• Thematic Focus: Heavily inspired by Vaishnavism, the early masterpieces of this school include the Rasamanjari (a treatise on the aesthetics of romance) painted by Devidasa in 1694-95 for Kirpal Pal, and vibrant depictions of the Devi (Supreme Goddess).

2. The Guler school: The Transitional Crucible

Appearing in the first quarter of the eighteenth century under the patronage of Raja Govardhan Chand (1744–1773), the Guler school acted as the vital bridge between the flamboyant Basohli idiom and the lyrical Kangra style.

• Aesthetic Vocabulary: Influenced by the Seu family atelier, Guler paintings represent a shift toward subdued elegance and naturalism. The color palette transitioned to softer pastel hues with cool undertones. The rigid geometries of Basohli gave way to delicate linework, refined shading, and highly sensitive, atmospheric landscape depictions. The school excelled in wondrous, empathetic portrayals of the feminine world.

3. The Kangra school: The Zenith of Romantic Lyricism

The Kangra school emerged in the 1780s as the most mature, prolific, and sophisticated manifestation of Pahari art. It reached its absolute zenith under the paramount ruler of the hills, Maharaja Sansar Chand (1775–1823) of the Katoch dynasty, who transformed towns like Tira Sujanpur, Alampur, and Nadaun along the River Beas into vibrant hubs of artistic activity.

• Aesthetic Vocabulary: Kangra art is synonymous with poetic lyricism, fluid musicality in its line-work, and an enchanting depiction of female grace. While red, yellow, and blue remained primary, they were applied with soft, enamelled textures. Kangra artists possessed a profound connection to nature; meticulously painted leaves, blooming flora, and distant pink-hued hills were not mere backgrounds but active participants reflecting the emotional state of the human subjects.
• Thematic Focus: The eternal romance of Radha and Krishna, inspired by the Bhakti movement, is the soul of Kangra painting. Masterpieces from this era illustrated texts like Jayadeva's Gita Govinda, the Bhagavata Purana, Keshav Das’s Rasikapriya, and the Ashta Nayikas (eight heroines in various states of romantic anticipation or despair).

4. The Chamba School and the Art of the Rumal

Developing concurrently with Basohli and Guler, the Chamba school initially mirrored the bold Basohli style before adopting Mughal and Deccani refinements, particularly under Raja Umed Singh (1748–1768).

• Aesthetic Vocabulary: Chamba figures exude a warm, sensual charm. The compositions heavily favored deep reds and blues, characterized by deft color mixing and prominent Mughal architectural influences.
• The Textile Connection: The Chamba school is unique for its direct translation into textiles, birthing the famous Chamba Rumal (handkerchief). Court painters would draw intricate Pahari miniature outlines directly onto unbleached muslin cloth. Royal and common women would then embroider these scenes (such as the Kurukshetra war or Rasa Lila) using untwisted silk floss and a complex double-satin stitch known as dohara tanka, rendering the design identical on both sides of the fabric.

5. The Garhwal School: Cinematic Poetry

The foundation of the Garhwal school in Srinagar (Uttarakhand) was laid in 1658 when Mughal artists Sham Das and Har Das arrived as refugees accompanying Prince Suleman Shikoh, fleeing the wrath of Aurangzeb. The school reached its golden age a century later under the virtuoso painter-poet Mola Ram (1743–1833).

• Aesthetic Vocabulary: Garhwal miniatures share an affinity with Guler but are distinguished by their cinematic atmosphere. They frequently feature overcast skies, foggy vistas, starry nights, and intensely lush natural environments. The human figures—particularly women—are depicted with delicate oval faces, defined nose bridges, fully developed forms, and a characteristic chandan tikka (sandalwood mark) on the forehead.
• Thematic Focus: Mythology, specifically Krishna Leela and Rukmini Mangal, dominates the portfolio. Garhwal art is highly symbolic, heavily featuring lotuses (spiritual enlightenment), conch shells, and peacocks (prosperity and love) seamlessly integrated into the romantic narratives.

6. The Mandi School: The Macabre and the Tantric

While the rest of the Pahari states indulged in the romantic lyricism of Vaishnavism, the state of Mandi, particularly under the reign of Raja Sidh Sen (1684–1727), developed a strikingly eccentric and somber aesthetic.

• Aesthetic Vocabulary: Mandi art is characterized by dull colors, dark backgrounds, and an overall crude, mystified appearance.
• Thematic Focus: The school was heavily patronized by the Tantra cult and focused on Devi worship. The Goddess is frequently portrayed in wrathful, ferocious, larger-than-life forms using deep tones of black, red, and blue. Raja Sidh Sen himself was painted repeatedly as a colossal, imposing figure with exaggeratedly huge heads, hands, and feet, projecting raw, divine authority.

7. The Kullu School and the Shangri Ramayana Enigma

The Kullu style is marked by a rugged, bold energy that draws heavily from the early Basohli idiom, utilizing dull and dark colors.

• The Shangri Ramayana: This monumental, multi-volume manuscript from the late seventeenth and early eighteenth century is arguably the most ambitious and scholastically debated series in Pahari art. Named after the 'Shangri' branch of the Kullu royal family (Raja Raghubir Singh) who possessed a large portion of it, the series features fiery colors, dynamic action, and varied expressions of grief, awe, and battle tension.
• Stylistic Debate: Art historian W.G. Archer originally divided the massive work into four distinct styles (Styles I–IV), attributing them all to the Kullu court. However, recent scholarship by Goswamy and Fischer argues that the foundational early styles (Styles I-III) were likely painted by masters in Bahu (Jammu) and only later assembled in Kullu, demonstrating the complex, collaborative nature of Pahari artistic production across borders. The series is renowned for its inventive depictions, such as fragmented portrayals of stealthy, ferocious animals half-hidden in dense foliage to convey the terror of the Dandaka forest during Rama's exile.

Minor Centers of Note

• Mankot (J&K): Initially mirroring the bold, primary colors and stylized subjects of Basohli, Mankot transitioned in the mid-17th century toward portraiture, naturalism, and muted palettes.
• Jasrota (J&K): Catapulted to prominence by Nainsukh, this school eschewed mythology in favor of highly realistic, intimate portrayals of court life, hunting, and the daily routines of Raja Balwant Singh.
• Bilaspur (HP): Flourishing from the mid-17th century, Bilaspur artists were noted for producing religious coverlets for sacraments, alongside series on the Bhagavata Purana.

Comparative Analysis: Pahari, Rajasthani, and Mughal Miniature Traditions

To appreciate the distinct identity of the Pahari schools, they must be situated comparatively against their contemporary traditions: the Mughal and Rajasthani (Rajput) schools.

Decline, Modern Revival, and Current Affairs

The late nineteenth century witnessed the gradual decline of the Pahari miniature tradition. The collapse of the princely states' patronage networks, the advent of British colonial rule, the introduction of the printing press, and the rising popularity of photography and European aesthetic tastes relegated these master artisans to obscurity.

However, recent decades have seen aggressive efforts to preserve and revive the tradition, bridging historical art with modern intellectual property frameworks.

The Role of Geographical Indication (GI) Tags

To combat mass-produced imitations and provide legal recognition to authentic, region-specific craftsmanship, the Government of India has granted Geographical Indication (GI) tags under the GI of Goods (Registration and Protection) Act, 1999.

• Chamba Rumal (2007): Acknowledging its unique dohara tanka technique and Pahari origins, the Chamba Rumal received its GI tag early on. Revival efforts led by figures like Usha Bhagat and Padma Shri awardee Lalita Vakil have successfully trained new generations of women in this craft.
• Kangra Painting (2012): Registered under GI No. 381, this tag formally distinguishes authentic Kangra miniatures—crafted with natural colors on handmade paper—from digital or synthetic imitations. Institutions like the Kangra Arts Promotion Society and masters like Chandu Lal Raina (a descendant of Pandit Seu) have spearheaded local training programs to keep the physical skills alive.
• Basohli Painting (2023/2024): Recognized as the founding tradition of the Pahari school, Basohli painting recently became the first independent GI-tagged handicraft from the Jammu region, safeguarding its bold aesthetic and unique use of beetle wings.

Analytical Outlook on GI Enforcement: While GI tags represent crucial cultural infrastructure, their practical efficacy is heavily debated in policy circles. A GI tag is fundamentally an intellectual property instrument with territorial limitations; it prevents domestic counterfeiting but struggles against international misappropriation (similar to the controversy where an Italian luxury brand utilized the Kolhapuri design without consequence). Furthermore, a GI tag does not automatically translate into a livelihood guarantee. The highly labor-intensive nature of preparing wasli and natural pigments makes authentic Pahari paintings expensive. Without robust institutional marketing, artisan communities often struggle to earn incomes commensurate with the cultural value of their work.

Global Cultural Diplomacy and Exhibitions

Pahari art continues to operate as a potent instrument of India's soft power. During the 2022 G20 Bali Summit, the Indian Prime Minister gifted a traditional Kangra miniature to the US President, highlighting its global prestige.

Scholastically, the tradition is undergoing a massive international renaissance. In the spring of 2026, a groundbreaking collaborative exhibition titled "Longing: Painting from the Pahari Kingdoms of the Northwest Himalayas" will be hosted concurrently across three major US institutions: the Cincinnati Art Museum, the Cleveland Museum of Art, and the Smithsonian’s National Museum of Asian Art. Accompanied by the exhaustive volume Pahari Paintings: Art and Stories published by Yale University Press, this project leverages the Catherine Glynn Benkaim collection to dismantle outdated geographic categorizations, firmly establishing the agency, collaboration, and intervalley mobility of artisan families at the forefront of global art historical discourse.

Summary

The Pahari School of Painting is a testament to the transformative power of cultural synthesis. Arising in the isolated, mountainous courts of the northwestern Himalayas, the tradition began in the late seventeenth century with the bold, fervent, and intensely colorful Basohli style. However, driven by the collapse of the Mughal empire and the subsequent migration of masterful artisan families to the hills, the art form underwent a radical evolution. The lineage of Pandit Seu, propelled by the divergent geniuses of his sons Manaku and Nainsukh, seamlessly married the precise, observational realism of Mughal portraiture with the lyrical, romantic, and deeply devotional themes of Rajput Vaishnavism.

This synthesis matured into the Kangra style, an aesthetic defined by musical linework, pastel hues, and the profound integration of human emotion with the natural landscape. While distinct sub-schools like the macabre Mandi, the cinematic Garhwal, and the dynamic Kullu (Shangri Ramayana) developed due to localized patronage, the true carriers of the Pahari aesthetic were the mobile family ateliers. Today, as the tradition navigates the pressures of modernity, legal frameworks like Geographical Indication (GI) tags seek to protect its legacy. Concurrently, major global exhibitions and publications continue to elevate Pahari painting, securing its place not merely as a regional Indian craft, but as a pinnacle of world art history.

Memory Tips for Prelims

• Patron-School Mnemonic: Big Kings Give Gold, Keeping Silver.
  • Basohli – Kirpal Pal
  • Guler – Govardhan Chand
  • Kangra – Sansar Chand
• Basohli Basics (The 3 B's): Bold colors, Beetle-wings (used for emerald jewelry), Bhanu Datta's Rasamanjari (key text).
• The Artisan Lineage (S-M-N): Pandit Seu (The Founder) → Sons: Manaku (Master of Mythology/Narrative) & Nainsukh (Master of Naturalism/Patron portraits of Balwant Singh).
• Garhwal & Mandi Distinctions: Garhwal = Mola Ram (Mountainous, cinematic landscapes, overcast skies); Mandi = Macabre (Tantra, Devi cult, colossal heads under Sidh Sen).
• Textile Link: Chamba Painting → Chamba Rumal (Embroidery using dohara tanka stitch).

Bullet Points for Prelims (Easy Recall)

• Timeline & Geography: 17th to 19th Century; Sub-Himalayan regions (Himachal Pradesh, J&K, Uttarakhand); patronized by Rajput hill chieftains.
• Basohli School: Earliest phase; Patron Raja Kirpal Pal; Known for bold primary colors (orpiment yellow, red), receding hairlines, large lotus eyes, and 3D jewelry (white paint/beetle wings). Famous work: Rasamanjari by Devidasa (1694).
• Guler School: Transitional, pre-Kangra phase; Patron Raja Govardhan Chand; Shifted from Basohli boldness to Mughal-influenced refinement and cooler, softer colors.
• Kangra School: The peak of Pahari art; Patron Raja Sansar Chand Katoch; Known for lyrical grace, delicate lines, sensitive nature depiction, and Radha-Krishna (Bhakti) themes.
• Mandi School: Patron Raja Sidh Sen; Deviated from romantic themes to depict Tantric cults, wrathful Goddesses in black/red, and rulers with exaggeratedly large features.
• Garhwal School: Founded by Mughal refugees (Sham Das/Har Das) in 1658; peaked under Mola Ram; known for poetic, foggy landscapes, starry skies, and detailed flora.
• Chamba School: Heavily influenced the embroidery of the Chamba Rumal (double-satin stitch).
• Kullu/Bahu School: Famous for the monumental Shangri Ramayana, characterized by intense colors and fragmented, stealthy depictions of wild animals.
• Key Artists: Pandit Seu, Manaku (Gita Govinda, Siege of Lanka), Nainsukh (known for realistic portraits of Balwant Singh of Jasrota), Mola Ram (Garhwal).
• Materials: Wasli (layered handmade paper burnished with agate), brushes made of squirrel/mongoose hair, natural colors (Lapis Lazuli, Orpiment, Sufaida/lead white, Pui Shak green, Bougainvillea pink).
• Recent GI Tags: Chamba Rumal (2007), Kangra Painting (2012), Basohli Painting (2023/2024).