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Updated: May 21, 2025
Among the many artists employed by Sansar Chand, a certain Purkhu was notable for his 'remarkable clearness of tone and delicacy of handling, and though none of his pictures are signed it is these qualities which characterize one of the two most famous sets of illustrations executed in Kangra.
Purkhu was clearly one of the greatest artists ever to practise in the Punjab Hills, but it is a certain Kushala who is supposed to have been Sansar Chand's special favourite. We do not know which pictures are by his hand but there exist two series of illustrations of such distinctive quality that Kushala may well have been responsible.
Sansar Chand was obviously quite exceptional, for not only was he successful in politics and war, but from his early manhood was devoted to Krishna as lover god. And it is this all-absorbing interest which explains the vast expansion of painting which now occurred. Under Sansar Chand's stimulus artists began to portray every situation involving Krishna, the cowherd.
Carathis, however, eagerly entered the dome of Soliman, and, without regarding in the least the groans of the Prophet, undauntedly removed the covers of the vases, and violently seized on the talismans; then, with a voice more loud than had hitherto been heard within these mansions, she compelled the Dives to disclose to her the most secret treasures, the most profound stores, which the Afrit himself had not seen; she passed by rapid descents, known only to Eblis and his most favoured potentates, and thus penetrated the very entrails of the earth, where breathes the Sansar, or icy wind of death; nothing appalled her dauntless soul; she perceived, however, in all the inmates who bore their hands on their hearts a little singularity, not much to her taste.
“Ah, Sansar!” he cried, “I don’t like your way of managing these branches so well as my own; but it is a difficult thing to move an old fellow like you. You never fasten together the shoots which you don’t cut off, they are flying about quite wild, and the first ox that passes through the field next month for the ploughing will break them off.”
Krishna the lover was once again portrayed and until the middle of the nineteenth century, pictures continued to be produced blending the delights of courtly passion with adoration of God. It was in the state of Kangra, however, that the greatest developments occurred. In 1775, the young Sansar Chand became Raja, and despite his extreme youth, quickly acquired mastery of the Kangra court.
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