Consider the following statements regarding the Mandi School of painting: 1. The rulers of Mandi were ardent worshippers of Vishnu and Shiva. 2. The school strictly prohibited the depiction of Shaivite subjects. 3. It was the only Pahari school that did not follow the Kangra style. Which of the statements given above is/are correct?

The correct option is 1 only Explanation The Mandi School of painting is a significant branch of the Pahari School of miniature painting, which flourished in the Himalayan foothills. It is known for its distinct, robust, and often folk-inspired style, which evolved separately from the more lyrical Kangra style before eventually assimilating it. Statement-wise Analysis - Statement 1 is Correct. The rulers of Mandi were devout followers of both Vishnu and Shiva. For instance, Raja Suraj Sen (1637-1664) dedicated his kingdom to Madho Rai (a form of Lord Vishnu), who remained the presiding deity of the state. Conversely, Raja Sidh Sen (1684-1727) was an ardent devotee of Lord Shiva, and many paintings from his era reflect Shaivite themes. - Statement 2 is Incorrect. The Mandi School did not prohibit Shaivite subjects. In fact, it is renowned for its extensive depiction of Shaivite themes. A famous motif in Mandi painting is the portrayal of the ruler (specifically Raja Sidh Sen) as an incarnation of Shiva or in the company of Shiva. The art is characterized by heavy, robust forms often associated with Tantric and Shaivite iconography. - Statement 3 is Incorrect. It is factually wrong to claim that Mandi was the "only" school that did not follow the Kangra style. - First, other schools like Basohli maintained distinct styles for long periods. - Second, and more importantly, the Mandi School did eventually adopt the Kangra style. During the reign of Raja Isvari Sen (1788-1826), artists like Sajnu migrated from Kangra to Mandi, introducing the refined, lyrical Guler-Kangra style, which replaced the earlier robust local idiom. Key Takeaway Mandi paintings are historically distinct for their heavy facial features and Shaivite themes (especially under Raja Sidh Sen), but the school later assimilated the Kangra style during the early 19th century.

NCERT Class 12 Art & Culture — Chapter 5: The Pahari Schools of Painting

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Consider the following statements regarding the Mandi School of painting:

The rulers of Mandi were ardent worshippers of Vishnu and Shiva.
The school strictly prohibited the depiction of Shaivite subjects.
It was the only Pahari school that did not follow the Kangra style.

Which of the statements given above is/are correct?

Official previous-year question

Verified 1 Aug 2026.

Options

A1 only
B1 and 3 only
C2 only
D1, 2 and 3

Did you get this right?

Solution

The correct option is

1 only

Explanation

The Mandi School of painting is a significant branch of the Pahari School of miniature painting, which flourished in the Himalayan foothills. It is known for its distinct, robust, and often folk-inspired style, which evolved separately from the more lyrical Kangra style before eventually assimilating it.

Statement-wise Analysis

Statement 1 is Correct. The rulers of Mandi were devout followers of both Vishnu and Shiva. For instance, Raja Suraj Sen (1637-1664) dedicated his kingdom to Madho Rai (a form of Lord Vishnu), who remained the presiding deity of the state. Conversely, Raja Sidh Sen (1684-1727) was an ardent devotee of Lord Shiva, and many paintings from his era reflect Shaivite themes.
Statement 2 is Incorrect. The Mandi School did not prohibit Shaivite subjects. In fact, it is renowned for its extensive depiction of Shaivite themes. A famous motif in Mandi painting is the portrayal of the ruler (specifically Raja Sidh Sen) as an incarnation of Shiva or in the company of Shiva. The art is characterized by heavy, robust forms often associated with Tantric and Shaivite iconography.
Statement 3 is Incorrect. It is factually wrong to claim that Mandi was the "only" school that did not follow the Kangra style.
- First, other schools like Basohli maintained distinct styles for long periods.
- Second, and more importantly, the Mandi School did eventually adopt the Kangra style. During the reign of Raja Isvari Sen (1788-1826), artists like Sajnu migrated from Kangra to Mandi, introducing the refined, lyrical Guler-Kangra style, which replaced the earlier robust local idiom.

Key Takeaway

Mandi paintings are historically distinct for their heavy facial features and Shaivite themes (especially under Raja Sidh Sen), but the school later assimilated the Kangra style during the early 19th century.

Your note

More from Chapter 5: The Pahari Schools of Painting

Which of the following pairs of Pahari artists and their patrons is correctly matched? 1. Devida : Kirpal Pal 2. Nainsukh : Balwant Singh 3. Manaku : Sansar Chand (later service) Select the correct answer using the code given below:

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With reference to the origins of the Pahari Schools of Painting, consider the following statements: 1. The Pahari style began at Basohli with a coarsely flamboyant style and matured into the sophisticated Kangra style. 2. Unlike Rajasthani and Mughal schools, Pahari paintings are easily classified based on distinct territorial boundaries. 3. The earliest prevailing pictorial language in the hills is generally understood to be the Basohli-like style. Which of the statements given above is/are correct?

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Which of the following factors is considered by art historians to be chiefly responsible for the shaping of the Pahari style of painting?

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Consider the following statements regarding the Basohli School of painting: 1. It flourished under the patronage of Raja Sansar Chand in the late 19th century. 2. A distinctive feature is the use of small, shiny green particles of beetle wings to simulate emeralds in jewellery. 3. The style is characterized by the use of strong primary colours and warm yellows. Which of the statements given above is/are correct?

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Which of the following texts was the most popular theme for the painters of the Basohli School?

easy

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The correct option is

1 only

Explanation

Statement-wise Analysis

Statement 1 is Correct. The rulers of Mandi were devout followers of both Vishnu and Shiva. For instance, Raja Suraj Sen (1637-1664) dedicated his kingdom to Madho Rai (a form of Lord Vishnu), who remained the presiding deity of the state. Conversely, Raja Sidh Sen (1684-1727) was an ardent devotee of Lord Shiva, and many paintings from his era reflect Shaivite themes.
Statement 2 is Incorrect. The Mandi School did not prohibit Shaivite subjects. In fact, it is renowned for its extensive depiction of Shaivite themes. A famous motif in Mandi painting is the portrayal of the ruler (specifically Raja Sidh Sen) as an incarnation of Shiva or in the company of Shiva. The art is characterized by heavy, robust forms often associated with Tantric and Shaivite iconography.
Statement 3 is Incorrect. It is factually wrong to claim that Mandi was the "only" school that did not follow the Kangra style.
- First, other schools like Basohli maintained distinct styles for long periods.
- Second, and more importantly, the Mandi School did eventually adopt the Kangra style. During the reign of Raja Isvari Sen (1788-1826), artists like Sajnu migrated from Kangra to Mandi, introducing the refined, lyrical Guler-Kangra style, which replaced the earlier robust local idiom.