Black and White Picture of Raja Ugar Singh of Hindur, 1840-1850 (from Archer's book on Punjab Hills Paintings) Picture the year: 1795. The foothills of the Shivaliks are tense, echoing with the tramp of armed men and the grinding pressure of regional rivalries. Down in the valleys, Raja Ram Saran Singh Handuriya of Handur (modern-day Nalagarh) is caught in a grinding political bind. For years, Handur has ridden the coattails of Kangra’s aggressive campaigns against its bitter historical rival, Bilaspur (then known as Kahlur). But looking out across his contested borders, Ram Saran Singh faces a heavier, more haunting question: Does he continue serving as a satellite to Kangra’s ambitions, or does he break away, side with Maha Chand and Bilaspur, and reclaim a fractured sense of Rajput honor? The friction between Handur and Bilaspur was rooted in continuous struggles over strategic border zones, crucial river-crossing points, and the Satgarha (seven forts) territory. Because Handur...
Painting picture courtesy Christie's Auction House Sometimes, a painting begins to ask more questions than it answers. A late eighteenth-century painting, attributed to the Mandi school and catalogued as showing Raja Sansar Chand of Kangra with a courtier, has intrigued me for some time. At first glance, the identification appears straightforward enough. Two men sit opposite each other, smoking hookahs, while attendants stand behind them holding fly-whisks. One figure is dressed in red, the other in white. The scene is informal, almost intimate, and yet unmistakably courtly. But the more I looked at the painting, the less convinced I became that the red-clad figure was Sansar Chand. The reason came from looking at other portraits. Among the surviving paintings associated with the Mandi court are several portraits of Raja Surma Sen, who ruled Mandi from 1781 until his death in 1788. One such portrait shows him seated smoking a hookah, attended by a fly-whisk bearer. Another depicts ...