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272:. Here his father subsequently established a painting workshop. Along with his brother who was around ten years older than him, he was trained by his father in all aspects of painting from an early age. At this very time, examples of Moghul painting were increasingly coming to the valleys of the west Himalayas, and it seems probable that Nainsukh came into contact with the works of Mughul painters early on. Possibly he had worked at a Mughal court, where Hindu artists were common.
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202:, from about 1765 until his death in 1778, Nainsukh returned to religious subject matter, but retaining his stylistic innovations. By the end of his career, with an active family workshop continuing his style, he was probably not executing the works himself anymore, but leaving them to his children and nephew as his artistic heirs. Such works are often ascribed to the
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allow images to be produced that displayed the magnificence of his life; who between patron and painter first suggested this very informal approach is unknown. As well as some more conventional scenes, such as showing the raja hunting with a retinue or watching dancers, paintings by
Nainsukh show the raja getting his beard trimmed, writing a letter, performing a
439:. Some late sheets by Nainsukh that were not taken beyond the stage of preliminary drawings have comments by priests and scholars on the appropriateness of the images and their faithfulness to the texts they illustrate. This indicates that the religious function of such illustrations remained important.
275:
Unlike his stylistically more conservative brother Manaku, who remained in Guler and closely conformed to the style of his father Seu, Nainsukh introduced many of the novel elements of Moghul painting into the traditional Pahari style employed by his family. His early work is very poorly documented,
209:
According to B.N. Goswamy, the leading scholar of
Nainsukh, "Devices and mannerisms associated with Nainsukh include: a preference for uncoloured grounds; shading through a light wash that imparts volume and weight to figures and groups; a fine horizontal line that separates ground from background; a
454:
In the family workshop which he headed in
Basohli toward the end of his life, Nainsukh appear to have collaborated with his nephew Fattu (c. 1725 – 1785, son of Manaku) and his youngest son Ranjha (c. 1750 – 1830). He had three other sons: Kama (c. 1735 – c. 1810), Gaudhu (c. 1740 – 1820) and Nikka
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in a common funerary ritual. This register record is an important source for the reconstruction of
Nainsukh's life and work, which was previously clouded by considerable uncertainty, and his entry demonstrates the growing perception by artists of their importance. He also painted a miniature which
329:
The most important was Raja
Balwant Singh (1724–1763), who employed him for almost twenty years, until his untimely death. His work for Balwant Singh is his most celebrated, showing unusually intimate, informal, and sometimes downright unflattering scenes of the raja going about his daily round of
213:
Although a great part of his work may be lost, around a hundred works by
Nainsukh survive, many in both Indian and Western museums. Four of these bear his signature, and several have inscribed titles or comments. Unusually for Pahari painting, some are dated. There are at least two self-portraits,
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The relationship between the art-loving
Balwant Singh and Nainsukh must have been very close, since Nainsukh seems to have been employed by him often and able to see and record intimate scenes of his everyday life. Balwant Singh must have lacked the normal attitude of other Indian royalty to only
458:
They too became painters who continued to work in the naturalistic and graceful Pahari style developed by
Nainsukh. These are often attributed to the "Family of Nainsukh", as individual artists are hard to identify. The family workshop continued into the 19th century, and art historians tend to
357:
It is characteristic of
Nainsukh that he captures such specific situations and settings with great sensitivity. In his depictions of scenes, he moved away from stylised types in favour of realistic depictions. In his naturalistic depiction of buildings and books and his efforts to depict depth,
325:
Around 1740, Nainsukh left his father's workshop in Guler and moved to
Jasrota. It is unknown whether he made this move because of his stylistic innovations or for economic reasons (Guler was probably too small for two painters of the calibre of Manaku and Nainsukh). In the small but wealthy
425:, a very devout Hindu who eventually abdicated the throne in order to devote himself to a life of meditation. For him, Nainsukh produced entirely different kinds of work, turning to the more typical Pahari subject matter of illustrating poems recounting the stories from the great
214:
one from early in his career, and the other in a group scene with Balwant Singh, who is looking at a miniature, with the artist seated below him. Nainsukh peers over the raja's shoulder, perhaps offering his comments on the work, or ready to do so.'
198:, he was a central force in the development of Pahari painting in the middle of the eighteenth century, bringing Mughal elements into what had been a school mainly concerned with Hindu religious subjects. In his final phase at
366:, or supernaturally perfect being. In one portrait, according to B.N. Goswamy, the raja "combines an extreme informality of appearance with great majesty of bearing", a very different effect from that of Nainsukh's paintings.
210:
rich green in which his landscapes are usually bathed; a bush with flat circular leaves that he often introduces; a peculiar loop of the long stem of a hooka; and a minor figure often introduced in a two-thirds profile."
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pleasures. Balwant Singh ranked very low in the ranks of Hindu princes, and was barely a ruler as opposed to a landowner. The hill states gained in prosperity from the turmoil to the south after the
442:
513:
429:. His later work is less well known than that of his Jasrota period, and in the opinion of many scholars under-rated. He began to make drawings for a set of illustrations to the
382:
probably shows the raja's ashes, ceremonially arranged in a screen tent in the countryside with two attendants, presumably at a resting place while on their way to Haridwar.
307:
358:
Nainsukh shows the influence of his study of works by Mughal painters. Intimate depictions of Rajput rulers were not entirely unprecedented; Raja Sidhi Sen, 10th Raja of
373:
along with his family's possessions, as he recorded in a long entry in the register of the pilgrimage's destination, including a drawing in pen. Haridwar is one of the
639:) was exhibited in two recent exhibitions: #43 in London, Crill and Jariwala, 140–141, and # 83 in New York, Guy, 162; a detail of the earlier is shown at Guy, 160
421:
After Balwant Singh's death in 1763, around 1765 Nainsukh moved and entered the service of Amrit Pal (ruled 1757–1778), a nephew of Balwant Singh and ruler of
331:
398:
362:(died 1727) had had many images of himself painted, but these emphasized what was evidently a very impressive physique, and evoked the tradition of the
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The close relationship between Nainsukh and Balwant Singh is also shown by the fact that after his master's early death in 1763, he took his ashes to
470:
455:(c. 1745 – 1833). Nainsukh died in Basohli in 1778. Members of the family spread out in the region, carrying the family style throughout the hills.
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until the latter's death in 1763. This is the best known and documented phase of his career. Through his adaptation of elements of
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Raja Dhrub Dev assesses a horse; it was usual for horses to be shown off in front of a white sheet, to better appreciate their form
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921:"Grove", B. N. Goswamy. "Nainsukh." Grove Art Online. Oxford Art Online. Oxford University Press, accessed 7 June 2015,
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divide their work into categories such as the "first generation after Nainsukh" (or "after Nainsukh and Manaku").
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and inspecting a painting. When Balwant Singh had to spend a period in exile in Guler Nainsukh accompanied him.
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B.N. Goswamy, Eberhard Fischer: "Nainsukh of Guler", in: Milo C. Beach, Eberhard Fischer, B.N. Goswamy (Ed.):
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Grove; Crill and Jariwala, 140; Harle, 411; Reila. Balwant Singh's exact status is rather confused.
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and his distinctive style emerges almost fully formed in the next phase of his career.
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or "Seven Holy Places" of Hinduism, and the ashes were to be cast on the river
167:. He was the younger son of the painter Pandit Seu and, like his older brother
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The Spirit of Indian Painting: Close Encounters with 100 Great Works 1100–1900
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Crill and Jariwala, 140 say "c. 1710–20" on the birth date, see also
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Nainsukh of Guler: A great Indian Painter from a Small Hill-State.
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B.N. Goswamy, "Raja Sidhi Sen of Mandi; An Informal Portrait", in
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The Indian Portrait: An artistic journey from miniature to modern
961:, 2nd edn. 1994, Yale University Press Pelican History of Art,
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principality of Jasrota, Nainsukh worked for various patrons.
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Pahari-Meister: Höfische Malerei aus den Bergen Nord-Indiens.
394:
Radha and Krishna, c. 1775, "first generation after Nainsukh"
248:(2016) which cover different aspects of the painter's work.
163:(literally "Joy of the Eyes"; c. 1710 – 1778) was an Indian
1016:, pp. 659–686 (Artibus Asiae: Supplementum. Vol 48.2).
613:
In: Milo C. Beach, Eberhard Fischer, B.N. Goswamy (Hrsg.):
650:"Scenes from a Sketchbook | Amit Dutta's Cinematic Museum"
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Artibus Asiae Publishers, Zürich 2011, Vol. 2, 689–694.
609:
A list of his works in B.N. Goswamy, Eberhard Fischer:
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Wonder of the Age: Master Painters of India, 1100–1900
131:
Raja Balwant Singh examining a painting with Nainsukh
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Grove; Crill and Jariwala, 36–37, 140; Harle, 411-12
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The Art and Architecture of the Indian Subcontinent
268:in the far north of India, in the foothills of the
186:, where he painted most of his works for the local
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103:
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83:
54:
30:
777:Pahari Painting: The Family as the Basis of Style.
691:Beach, 196–202; Grove; Crill and Jaliwala, 35–36
8:
894:Mughal and Rajput Painting, Part 1, Volume 3
435:, a famous poem on the earthly exploits of
178:Around 1740 he left the family workshop in
226:released in 2010. Dutta has also made the
38:
27:
1008:, Artibus Asiae Publishers, Zürich 2011,
974:Indian court painting, 16th–19th century.
342:in 1739 diverted trade routes their way.
289:Mian Mukund Dev of Jasrota out on a ride
283:
264:, India, then the capital of the pocket
151:
139:
903:Crill, Rosemary, and Jariwala, Kapil.
783:. Vol 21, No. 4, 1968, pp. 17–62 &
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466:
222:, a film based on his life directed by
635:The latter painting (Museum Reitberg,
291:, ascribed to Nainsukh, c. 1740–1745 (
507:Raja Balwant Singh watches performers
450:(Abhisarika Nayika) Late 18th century
190:ruler Mian Zorowar Singh and his son
7:
931:, 2011, Metropolitan Museum of Art,
171:, was an important practitioner of
900:, 1992, Cambridge University Press
898:The New Cambridge History of India
144:Raja Balwant Singh making a Hindu
14:
909:National Portrait Gallery, London
312:The Poet Bihari Offers Homage to
942:B.N. Goswamy, Eberhard Fischer:
673:Crill and Jaliwala, 35–36; Grove
512:
500:
483:
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386:Basohli, and the family workshop
775:Grove, see also B. N. Goswamy:
1074:Painters from Himachal Pradesh
1023:Museum Rietberg, Zürich 1997,
946:Museum Rietberg, Zürich 1990,
927:Guy, John, Britschgi, Jorrit,
905:The Indian Portrait, 1560–1860
745:Grove; Crill and Jariwala, 140
582:Grove; Guy, 160; Harle, 411-12
280:Jasrota and Raja Balwant Singh
1:
303:Portrait of a singer, 1750–55
256:Nainsukh was born c. 1710 in
1064:18th-century Indian painters
991:, 2010, Archer Art Gallery,
977:Metropolitan Museum of Art.
477:The Musical Mode, Surmananda
448:Heroine Rushing to Her Lover
293:Victoria & Albert Museum
16:Indian painter (c.1710-1778)
1069:People from Kangra district
1033:Artibus Asiae: Supplementum
615:Masters of Indian Painting.
1090:
1006:Masters of Indian Painting
877:As in Guy, #s 87–94; Grove
18:
37:
971:Kossak, Steven. (1997).
246:Scenes from a Sketchbook
72:Jawali, Himachal Pradesh
543:List of Indian painters
407:Approaches the Sulking
19:For the 2010 film, see
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1049:Indian male painters
758:, 2014, Penguin UK,
446:Family of Nainsukh,
654:watch.eventive.org
611:Nainsukh of Guler.
491:The Musical Mode,
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204:Family of Nainsukh
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135:Rietberg Museum
108:Pahari painting
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70:(modern-day
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1054:1778 deaths
1035:. Vol XLI).
413:, from the
364:mahapurusha
266:Guler State
67:Guler State
1043:Categories
983:0870997831
967:0300062176
937:1588394301
884:References
868:Beach, 199
859:Kossak, 99
838:Beach, 202
829:Kossak, 99
764:9351188620
718:Harle, 411
626:Harle, 411
573:Kossak, 99
417:, Nainsukh
411:'s Chamber
405:Dasharatha
375:Sapta Puri
340:Nadir Shah
260:in modern
252:Early life
238:Field-Trip
224:Amit Dutta
564:, p. 268.
321:, 1760–65
295:, London)
270:Himalayas
148:, c. 1750
120:(brother)
911:, 2010,
736:Guy, 162
700:Guy, 160
537:See also
415:Ramayana
371:Haridwar
236:(2013),
219:Nainsukh
161:Nainsukh
104:Movement
99:Painting
59:Nainsukh
32:Nainsukh
525:Parvati
463:Gallery
437:Krishna
423:Basohli
409:Kaikeyi
332:capture
318:Krishna
200:Basholi
184:Jasrota
165:painter
65:Guler,
62:c. 1710
1027:
1012:
981:
965:
950:
935:
915:
850:, 307.
810:online
798:online
762:
659:30 May
637:Zürich
379:Ganges
352:hookah
240:(2013)
188:Rajput
118:Manaku
114:Family
820:Grove
600:Grove
549:Notes
521:Shiva
493:Gauri
403:King
360:Mandi
336:Delhi
314:Radha
258:Guler
228:short
180:Guler
76:India
1025:ISBN
1010:ISBN
979:ISBN
963:ISBN
948:ISBN
933:ISBN
913:ISBN
781:Marg
779:In:
760:ISBN
661:2021
523:and
348:puja
316:and
244:and
146:puja
87:1778
84:Died
55:Born
334:of
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