The following statements relate to Pahari painting of the Kangra School.
(A) In the painting Nanda, Yashoda and Krishna, a flush-cut composition, resembling a photograph, lends naturalism to the painting.
(B) Tira Sujanpur emerged as the most prolific centre of painting under the patronage of Raja Sansar Chand.
(C) Utka awaits her beloved’s return from a voyage and decorates the bed with flowers.
(D) The most matured paintings of the Kangra kalam were painted at Alampur.
How many of the statements given above are correct?
Answer & explanation
Correct answer: option 2
The correct answer is Option (2) → Two
A. In the painting Nanda, Yashoda and Krishna, a flush-cut composition, resembling a photograph, lends naturalism to the painting. — Correct. Kangra painters observe the landscape closely, and this photograph-like flush cut adds to the natural look.
B. Tira Sujanpur emerged as the most prolific centre of painting under the patronage of Raja Sansar Chand. — Correct. Sansar Chand made Kangra supreme among the hill states, and Tira Sujanpur became his busiest centre.
C. Utka awaits her beloved’s return from a voyage and decorates the bed with flowers. — Incorrect. This is Vasaksajja. Utka is the nayika who anticipates her beloved’s arrival and patiently waits for him.
D. The most matured paintings of the Kangra kalam were painted at Alampur. — Incorrect. Alampur shows the earlier phase. The most matured paintings were done at Nadaun, where Sansar Chand moved later in life.
NCERT (2026-27): “Kangra School …Raja Sansar Chand established supremacy of Kangra over all surrounding hill states. Tira Sujanpur emerged as the most prolific centre of painting under his patronage. An earlier phase of Kangra kalam paintings is witnessed in Alampur and the most matured paintings were painted at Nadaun, where Sansar Chand shifted later in his life.” “Bhagvata Purana …Depiction of Ashta Nayikas or eight heroines is one of the most painted themes in Pahari paintings, involving the depiction of women in various dispositions and emotive states. To mention a few — Utka is the one who is anticipating the arrival of her beloved and patiently waits for him, Svandhinpatika is the one whose husband is subject to her will, Vasaksajja awaits her beloved’s return from a voyage and decorates the bed with flowers in a welcoming gesture, and Kalahantarita is the one who resists her beloved when he seeks to soften her pride and repents when he comes late.” “Nanda, Yashoda and Krishna … Kangra painters, as discussed in the earlier part of the chapter, acutely observe the landscape and represent it naturalistically. The details are eloquently expressed. One also observes a flush-cut composition, resembling a photograph, which lends naturalism to the painting.” |