According to B. N. Goswamy, what is the incorrect aspect of his central argument regarding the development of the Pahari style?

Political boundaries were always rigid and well-defined.

The correct answer is Option 4- Political boundaries were always rigid and well-defined.
Goswamy argues that political boundaries were always fluid, not rigid and well-defined.

The emergence of the Pahari School remains unclear, though scholars have cautiously proposed theories concerning its beginning and influences. It is widely accepted that Mughal and Rajasthani styles of paintings were known in the hills probably through examples of Provincial Mughal style and family relationships of hill Rajas with the royal courts of Rajasthan. However, the flamboyantly bold Basohli-like style is, generally, understood to be the earliest prevailing pictorial language. B. N. Goswamy, one of the most significant scholars of the Pahari Schools of Painting, has attributed the shaping of Pahari style from he simplicity of Basohli to poetic lyricism and refinement of Kangra to the ingenuity of a family of artists through his scholarly approach of family as the basis of style. His central argument is that the family of Pandit Seu (Shiv) was chiefly responsible for the course of Pahari paintings. He argues that identifying Pahari paintings on the basis of regions could be misleading as political boundaries were always fluid. This argument is also true for Rajasthani schools as attribution merely by regions creates vagueness and several disparities remain unexplained. Hence, if a family of artists is considered as the style bearer, justification of multiple strands of a style can be accommodated within the same region and school.