Kangra miniatures originated in a small hill state 'Guler' in the Lower Himalayas in the first half of the eighteenth century when a family of Kashmiri painters trained in Mughal Style of painting sought shelter at the court of Raja Dalip Singh (r. 1695-1741) of Guler. The new artists mingled with the local artists and were greatly influenced by the atmosphere of the hills. Instead of painting flattering portraits of their masters and love scenes, the artistes adopted themes of eternal love between Radha and Krishna. The Kangra miniatures are noted for portraying the famine charm with a natural grace. Apart from female beauty there is also a loving interest in landscapes, the countryside, the rivers, trees, birds, cattle, and flowers which has been very meticulously portrayed in these paintings. The Kangra miniatures excel in the depiction of female figures, who were conceived as the embodiments of youth, beauty and emotive sentiment. The figure of a youthful coy nayika (heroine) seen in Kangra miniatures is an ideal physical type which is slender and elegant, radiating infinite charm, sensitiveness and refinement. The colour scheme of Kangra miniatures appears is soft and subtle yet brilliant and cheerful. At the zenith of its refinement, Kangra miniatures presents a pure melody of flowing lines and glowing colours, breathing out a sense of space, tranquillity and poetic sentiment. Even the unfinished pictures and sketches reveal their own charms, in the free-hand movement of sensitive and spontaneous lines.