Pahari: The Pahari School of Painting developed in the hilly regions of the western Himalayas between the 17th and 19th centuries. The term Pahari means ‘mountainous’ and refers to centres such as Basohli, Guler, Kangra, Chamba, Kullu, Nurpur, and Mandi. The tradition began at Basohli with a bold and vibrant style marked by strong colours and decorative brilliance. During the 18th century, it gradually transformed through the Guler or pre-Kangra phase into the refined and lyrical Kangra style. Unlike other Indian schools, Pahari painting resists rigid regional classification, as styles evolved through artist families, especially that of Pandit Seu and his sons Manaku and Nainsukh. Influenced by Mughal naturalism, Pahari paintings are celebrated for their poetic expression, delicate lines, and intimate portrayal of nature, devotion, and courtly life.

Garhwali: The Garhwali School of Painting emerged in the Himalayan region of Garhwal during the 17th century as an important offshoot of the Pahari tradition. Its foundation was laid in 1658. Political stability and cultural prosperity under regional rulers encouraged artistic growth. A decisive moment came when the Mughal prince Sulaiman Shikoh sought refuge in Garhwal, bringing court painters Shyamdas and his son Hardas, masters of Mughal miniature painting. Though trained in Mughal aesthetics, they adapted their style to local sensibilities, giving birth to a distinct Garhwali idiom. Matrimonial ties with Kangra further introduced refined Kangra elements into Garhwal painting. The school is known for its lyrical synthesis of devotion and romance, focusing on themes such as Krishna Leela, the Ramayana, and the Kama Sutra. Idealised female figures, delicate features, transparent garments, and serene natural settings are hallmarks of the Garhwali style.