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Updated: May 11, 2025
Even the dead in the village churchyard had been plowed from their graves by the terrific bombardment. The Garhwal Brigade captured the first line of trenches on the right, and the Third Gurkhas, on the southern outskirts of the village, met the Rifle Brigade. Then it dashed on to the Bois du Biez, passing another rubbish heap which once had been the hamlet known as Port Arthur.
Thus it was not until 3.30 p. m. that three brigades of the Seventh Division, the Twentieth, Twenty-first, and Twenty-second Brigades were in their places on the left of the Twenty-fourth Brigade. Then the left moved southward toward Aubers. At the same time the Indian Corps, composed of the Garhwal Brigade and the Dehra Dun Brigade, forced its way through the Bois du Biez toward the ridge.
Their style was clearly influenced by that of the master but in their use of slender leafless branches and towering spikes of blossom, they developed a special Garhwal imagery designed to suggest the slender beauty of love-enchanted girls. After the expulsion of the Gurkhas in 1816, a new Raja revived Garhwal painting.
On a front a mile and a half long to the south of them was the Meerut Division, supported by the Lahore Division. The Garhwal Brigade was on the left and the Dehra Dun Brigade was on its right. In the first attack the Twenty-third dashed to the northeast corner of the village, the Twenty-fifth against the village itself; and the Garhwal Brigade charged on the southwest corner.
Among the Guler painters was a master-artist and although his first Garhwal pictures are concerned with passionate romance, devotion to Krishna quickly becomes apparent.
In two pictures where Krishna is shown quelling the snake Kaliya, all the Guler qualities of elegant naturalism are abundantly present. Each figure has a smooth suavity and in every face there appears a look of calm adoration. It is the swirling, curling water, however, which gives the pictures their special Garhwal quality.
We do not know which member of the Garhwal court acted as his patron it is even possible that it was not the ruler himself but his consort, the Guler princess whom he had married in about the year 1770.
The greatest emphasis was placed on elegance of pose. Fierce distortions were gradually discarded and the whole purpose of painting was to dwell on exquisite figures and to suggest a rapt devotion to the needs of love. It is this suavely delicate art which now appears in Garhwal.
What, at any rate, is clear is that at least one lively adorer of Krishna existed at the Garhwal court and that until the Gurkha invasions of 1803, there were other painters, besides the master-artist, who were similarly encouraged to interpret the Krishna theme.
In about this year, artists from Guler migrated to the distant Garhwal, a large and straggling state at the far south of the Punjab Hills, taking with them a style of exquisite naturalism which had gradually reached maturity under the Guler ruler, Raja Govardhan Singh.
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