Preserving Miniature Art with Yashodhara Raje Bundela | Imagine you’re as a chitrakar or manuscript illustrator in the 17th century working in the Mughal court. You have a flourishing career as Mughal emperors are known for championing the arts and promoting craftsmanship and culture. When Aurangzeb ascends the throne in 1658, things change. He reduces imperial patronage of the Mughal miniature, a style you’re an expert in. What do you do next?
As history shows us, the artists of the Mughal court migrated to the northern hills of India seeking new patrons. There, they were warmly welcomed by the pahari (hill) rulers and nobility of Himachal Pradesh. As time passed, a unique fusion of Mughal techniques and local themes gave birth to the tradition of Pahari miniature painting, which flourished from around the middle of the 17th century to the first quarter of the 19th century.
One person championing the preservation of this declining art form in the 21st century is Yashodhara Raje Bundela. The artist and budding academic, who is in the final stages of her Doctor of Philosophy on the Bilaspur school of Pahari miniature painting, creates Pahari miniatures and teaches them to interested students at her home in Dhami.
Bundela’s interest in the art form began when she went to Shimla for her graduation. There she was introduced to the seven major schools of Pahari painting and immediately became fascinated by their intricate details, vibrant colours and cultural richness. That initial exposure sparked a deep curiosity, gradually becoming a serious academic interest. However, her interest in artistry and creativity goes back even deeper than that.
“As a child, I was always drawn to creativity—constantly exploring art, imagination and self-expression,” Bundela says. “Academically, I was average, but my true passion lay in artistic pursuits. Fortunately, my parents were incredibly supportive, encouraging me to follow my interests rather than pressuring me to fit into conventional expectations. Today, I’m proud to say I’ve turned that early passion into a profession, working as a professional artist and living the creative life I always dreamed of.”
Besides Pahari miniatures, Bundela is a fan of the various other miniature painting styles, including kalamkari, Gond art and Kalighat painting. She’s drawn to their rich history, unique techniques, and colour-making processes.
Currently, she is working with a small but dedicated team on commissions for Pahari miniature paintings. The themes depicted in the traditional paintings features scenes from Hindu scriptures such as the “Bhagavata Purana,” “Bhagavad Gita,” the “Ramayana” and the “Gita Govinda”; portraits of Hindu deities like Rama, Krishna and Radha; and portraits of rulers and historical figures.
According to Bundela, what sets Pahari miniatures apart from other miniature traditions such as the Mughal, Deccan and Rajasthani schools is their deeply romantic, lyrical and devotional nature.
“The Pahari miniature is a unique and distinguished school of Indian miniature painting that developed in the Himalayan hill states. They often revolve around themes from Hindu mythology, especially the divine love of Radha and Krishna, drawing inspiration from texts like the ‘Bhagavata Purana’ and ‘Gita Govinda,’” she says.
“The style of Pahari miniatures is delicate and expressive, with graceful figures, fine lines and soft glowing colours. The landscapes are lush and poetic, filled with rolling hills, flowering trees, rivers and palaces that create a dreamlike atmosphere. The emotions are conveyed with great sensitivity, and the paintings often reflect a deep spiritual longing and joy. The combination of artistic grace, devotional content and regional flavour makes Pahari miniatures a truly special and cherished part of India’s artistic heritage.”
Bundela and her team don’t limit themselves to a specific image; rather, they create works inspired by all seven major schools, or kalams, of Pahari miniature painting: Basohli, Kullu, Mandi, Bilaspur, Kangra, Chamba and Guler.
“The cost varies depending on the complexity, size and style of the artwork. Some of my team are still in the learning phase, developing their skills and understanding of traditional Pahari miniature techniques. Others have reached a more advanced level and are now creating professional work,” Bundela says. “I guide and support them in mastering the traditional techniques of Pahari miniature and help them refine their technique while also encouraging them to stay true to the authenticity and aesthetics of the traditional styles. My goal is to nurture both learners and emerging artists so that this intricate art form continues to thrive.”
If you’re wondering where you can view Pahari miniatures in person, the Dhami House homestay in Shimla district, which Bundela runs with her husband and in-laws, is the right place to go. The team arranges special workshops and lectures on Pahari miniature art for those interested, alongside nature walks, birdwatching and cooking demonstrations.
In fact, Bundela runs a “Miniature Tour” that spans Himachal Pradesh, Delhi and Rajasthan for those who want a firsthand understanding of the differing forms of miniature painting, such as the Mughal, Rajput and Pahari. The tour stops in Kangra, Dharamshala, Udaipur, Nathdwara, Kishangarh, Kota and Jaipur, where visitors can see historical collections in person and engage in hands-on workshops.
Today, the Pahari miniature tradition is being kept alive by people like Bundela as well as contemporary artists and institutions in Himachal Pradesh and neighbouring regions. However, its revival and long-term survival faces several major obstacles, such as a loss of patronage, a lack of economic viability, the declining transmission of skills, limited institutional support, modern tastes and material constraints.
“Unfortunately, there is still limited awareness and interest among the general public when it comes to traditional art forms like Pahari miniatures. Many people are not fully aware of the cultural and historical significance of these paintings. While there have been some efforts by state and central governments, there is still a lack of a broad and consistent platform to promote and preserve traditional art forms. More support [through] outreach programs and educational initiatives are needed to help laypeople connect with their artistic heritage and appreciate its value,” Bundela says.
Despite the lack of institutional support, Bundela carries on with her work to preserve a heritage that is priceless beyond measure.
