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The thematic advertisement portfolio at the start of this
issue features the National Streets for Performing Arts
(nspa), Mumbai.
66
J
ammu was one of the few hill states whose artistic heritage was
undervalued by W.G. Archer in his landmark Indian Painting from the Punjab
Hills (1973). Nearly 20 years later, B.N. Goswamy and Eberhard Fischer in
their comprehensive work Pahari Masters re-provenanced the early leaves
of the Shangri Ramayana (ascribed by Archer to the principality of Kulu) to
Bahu – a state that split off from but later was re-absorbed into Jammu. This article
will re-examine their assertion and show that another artist, whose paintings Archer
considered a later manifestation of the Kulu kalam, is more likely to have worked in
Jammu as well. An attempt will be made to present an initial oeuvre for this second
unnamed painter, dubbed here the “Master of the Swirling Skies”.
Historical Background
Around 1560, during the reign of Raja Kapur Dev of Jammu, a bitter dispute arose
between his two sons, and Jammu was divided – one son at Bahu fort controlling the
region northwest of the Tawi river, and the other based at Jammu holding sway over
the lands to the southeast of that river. This situation continued into the late 17th/
early 18th century when, for reasons that are unclear, the Bahu maharajas ceded their
ancestral interests to the Jammu princes. There is some evidence that the rajas who
ruled from Bahu were senior and that they were thought of as ruling Jammu state.1
The historical data are slight and there is some doubt as to the date of reunifica-
tion of Jammu and Bahu. In the Vansavali genealogies, Anant (Anand) Dev is referred
to as the last raja of Bahu who ruled 1650–75, but his reign is generally believed to
have extended into the 18th century – the dates of Anand Dev’s rule have been adjus-
ted forward by Archer to c. 1690–1715, and those of his father Kripal Dev (referred to
by Archer as Kirpal Dev) to c. 1660–90. Archer is of the opinion that the transfer of
power must have occurred soon after 1715 – through diplomacy rather than martial
means – citing in support a portrait of Anand Dev of Bahu facing his collateral Dhrub
Dev of Jammu, that can be dated to around 1715 and has an inscription that refers to
Anand Dev as Raja of Jammu and Dhrub Dev as his “rightful brother”.2
The consolidation of the two branches of the family undoubtedly led to increased
economic and martial resources for the Jammu court. Under Raja Dhrub Dev (r. 1703–
35) Jammu became the dominant state in the territory between the Ravi and Chenab
rivers, an area that includes such important contemporaneous art-producing centres
as Basohli and Mankot.
In his account of painting in Kulu, Archer focused his discussion around the late
Steven Kossak • Master of the Swirling Skies: An Anonymous Painter of Jammu 13
pricked to enhance the effect), raised whites, extravagant patterned surfaces and ex-
uberant depictions of nature. (The use of beetle wing-cases to simulate emeralds only
occurs in works from Basohli.) Unlike the Early Basohli Master, the Early Bahu Master
has a pictorial freedom that exempted him from attempting verisimilitude: architec-
ture does not have to be structurally coherent and forms are manipulated for their
optimum visual impact rather than their mimetic truth.
For example, in a painting from the Shangri Ramayana illustrated here (figure
2), the yellow room at the left in which the protagonists interact is supported only by
large, exuberantly decorated brackets of differing size, the chocolate-brown portal in
which the gate-keeper stands has no uprights but only smaller brackets at the top of
the entrance, while the portal of the orange space at the right is supported by half-col-
umns of baluster form (more closely related to the pillar supports in the Early Rasa-
manjari). The upper palace structure is mainly an agglomeration of rows of decorative
devices of riotous colour surmounted by variously patterned domes, merlons, finials
2 “Rama Instructs Lakshmana
and decorative devices that could not possibly serve as a model for an actual building to Take Sita Away”, painting
but metaphorically create the idea of a palace. The buildings in the Early Rasamanjari from the Shangri Ramayana,
attributed to the Early Bahu
are also patterned but there the decorative devices help to define architectural features
Master (Shangri i), Jammu,
and to clarify the building’s structure. The range of colour used by the Early Bahu 1675–90. Ink, opaque
Master is broader than that seen in early Basohli pages and includes secondary hues watercolour, silver and gold
on paper; 21.6 x 30.5 cm.
such as mauves, pinks and oranges that may point to Deccani influence.9 Kronos Collections,
Whereas the Early Basohli Master portrays a fairly small range of physiometric New York.
Steven Kossak • Master of the Swirling Skies: An Anonymous Painter of Jammu 15