(b Guler, c. 1710; d Basohli, 1778). Indian painter. He was the younger son of PANDIT SEU. He remains, justly perhaps, the Pahari painter about whom most is known. Growing up in an atmosphere of experimentation and change, Nainsukh seems to have matured early and taken enthusiastically to the fluent naturalism of Mughal painting that came to the hill region at this time. Moving much further in this direction than did his father or elder brother, MANAKU, he brought the family painting style to a point where it established norms, affecting painting throughout the hills. Leaving his home in Guler c. 1740, Nainsukh entered the service of Prince Balwant Singh of Jasrota, a discriminating patron whom he served until his death in 1763. In 1763 Nainsukh went on a pilgrimage to Hardwar, where Balwant Singh’s ashes were taken for immersion, and made an uncommonly long and informative entry in the priest’s register, adding a tiny but brilliant impromptu drawing on the same page. Around 1765 he moved to Basohli, where he seems to have remained until his own death. A Self-portrait, done before he was 20 years old, has survived, as have portraits of his father and his elder brother. Several works inscribed in Nainsukh’s hand and some bearing his name have survived. He had four sons—Kama, Gandhu, Nikka and Ranjha—who, together with Fattu and Khushala, Manaku’s sons, continued to work in the family style that had been established c. 1760.

• Nainsukh
  • Indian subcontinent, §II, 8(i): Iconography and subject-matter: Portraits in north India
  • Indian subcontinent, §XII, 2: Patronage: Painting
  • Manaku
  • Pandit Seu
  • works
    • Indian subcontinent, §VI, 4(iv)(a): Pahari painting styles, 16th century–1947: Basohli
    • Indian subcontinent, §VI, 4(iv)(h): Pahari painting styles, 16th century–1947: Guler
    • Indian subcontinent, §VI, 4(iv)(i): Pahari painting styles, 16th century–1947: Jammu
    • Indian subcontinent, §VI, 4(iv)(j): Pahari painting styles, 16th century–1947: Jasrota