Before the Muslim invasions, members of the royal family of Gujrat began to reside permanently in various locations across northern India. During this period of dispersal, they initiated a campaign to preserve and promote the ancient art of Gujrati paintings, which can still be seen adorning the walls of palaces in Udaipur, Bikaner, Jodhpur, and Jaipur. While there is evidence of Buddhist influences, it is believed that these paintings were created afterward in the Buddhist era, incorporating elements of the local culture and artistic traditions.
A significant shift occurred in Hindu spiritualism during this period, marking the beginning of a new era of artistic expression in the Hindu Rajasthani Painting. The Hindu community split into two distinct groups: the Shaivites and the Vaishnavites. As these communities grew, they established numerous temples, which became hubs for artistic innovation. The sculptures and murals that adorned these temples showcased a new perspective on the divine, depicting superhuman forms that captivated the imagination. This visual revolution also extended to painting, giving rise to a fresh style that blended the sacred with the aesthetic. To master this new art form, artists delved deeply into the Hindu scriptures, seeking inspiration and guidance. As a result, a new artistic approach emerged, one that infused Indian art with a sense of spirituality and creativity. To grasp the essence of this innovative art form, artists had to delve deeply into the sacred scriptures of art, which gave rise to a new ideology in Indian Hindu art practice. However, it is worth noting that Indian artists have long been guided by a profound spiritual philosophy that has been an integral part of their creative process from time immemorial. Within this spiritual framework, Indian artists discovered a unique artistic ideology that manifests as a breathtaking representation of an otherworldly realm in their paintings, a world that is typically inaccessible to the common individual. The related painting is depicted in Opaque watercolor and gold on paper.
When Muhammad Kasim invaded and occupied the Sindhu Valley, local artists collectively petitioned him to refrain from interfering with their artistic pursuits. This was no idle rumor, as Kasim's actions were consistent with Islamic theology, which prohibits the creation of images. The fact that Kasim was approached by the artists suggests that painting was a significant and widespread occupation at the time, providing a vital source of income for many.
Aurangzeb demolished everything born of the joint endeavors of Hindu and Muslim artists, which had reached the highest level of Indian art culture and made glory in Indian history. He heartlessly relegated music and art from his royal court, resulting in an adverse situation for artists that bound them to find patronage elsewhere for their livelihood. Some of them found shelter in the hilly areas of the West Himalayan valley and Rajasthan. The rest of the artists took place in Luhnow, Hyderabad (presently Prayagraj), and Patna.
Although the Kangra paintings of the seventeenth century depicted several subjects, however, most of those paintings were portraits. Mughal emperors were highly passionate about portrait painting and they encouraged Rajput artists to make the same. Pursuing the art practice of Mughal Emperors, kings of Rajasthan and other royal court members also started portrait paintings with royal sponsorship. One of the notable kings was Sansar Chand who did several portraits from his youth to middle age serially. No other kings of Rajasthan and Kangra Valley were found in the same number of portraits as Sansar Chand. So many luxuriant individuals pursued portrait painting by following the trend, which made a sustainable income for artists. In those portrait paintings, artists implemented the royal disposition, followed by the royal court paintings. Because they were accustomed to such a style that they were never left behind.
Sansar Chand was deeply involved in Kangra painting, similar to how we experienced Jahangir with the Mughal painting. During his reign, Kangra's paintings reached the highest level of glory. So, I would like to introduce the name, Sansar Chand. At the end of the eighteenth century, King Sansar Chand, a descendant of the Katoch lineage, extended his support to artists, much like Jahangir did in his time. A noteworthy point to mention is that Sansar Chand's ancestor, Susharma, was a respected family friend of the Kauravas, and attacked Virat Dynesty of Matsya Kingdom when Kichaka the commander-in-chief was killed by Bhim as referenced in the famous Hindu scripture, the Mahabharata. Susharma originally lived in Multan before moving to Trigarta, which is now known as Jalandhar in Punjab. In the Mahabharata, he is recognized as the king of Trigarta. Historians note that he was an ancestor of Sansar Chand. Unfortunately, Sansar Chand's father, Teg Chand, died shortly after his birth.
During historical times, Kangra, also known as Nagarkot, was part of Punjab, where Susharma built a fort that is now famous as Kangra Fort. In the tenth century, Susharma founded Trigarta during the Katoch Dynasty, and it was regarded as an independent state of the Matsya Kingdom. Later, he occupied several areas around Trigarta and began to live peacefully. Later In 1751, Sansar Chand's grandfather Ghamand Chand ascended the throne and reclaimed the territories of his ancestors that had previously been occupied by Mughal emperors. It was possible because of the internal turmoil of the Royal Mughal family. But Ghamand Chand had an intolerable, brutal, arrogant personality and no interest in art. During his reign, no evidence of art practice was found. Only historians found some portraits of Ghamand Chand in his old age in the portrait collection of Sansar Chand. Sansar Chand ascended the throne in his 10 years. During that period, the Sikh community was gradually trying to gain control over the hilly regions of Punjab. Ten-year-old Sansar Chand swiftly took over the neighboring Rajput provinces by establishing a strong defense with the help of Rajput and Afghan soldiers. In doing so, he successfully recaptured the Kangra Fort, which had been conquered by Mughal Emperor Jahangir in 1620.
Image Resource -
[Lord Krishna and Balarama overpower King Kamsa] Wikimedia (Public Domain)
[Portrait of King Sansar Chand] Kangraonline
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