[4] When Hari Chand was eventually brought back alive from the well, instead of fighting for his rights to the throne, he founded the town of Haripur on the valley below the fort by the Banganga River.

[2][9] In Dilparanjani, one of the verses mentions the name of Rajguru Dinamani Raina, one of the painters of Guler, along with Chaturbhuj Purohit, one of the royal preceptors famous for his knowledge of mythological texts.

[2] The Kashmiri painters, who earlier enjoyed prestigious positions under the Mughals, were dispossessed after the ascendancy of Aurangzeb and were forced to migrate in search of patronage from the Rajput rulers.

While Manaku is said to have noted the earliest inscription of this painter-family at a bahi in Haridwar, where in 1736, he along with his cousins wrote the entry in the Takri script identifying the group as 'vasi Guler ke'.

Apart from portraits, the rulers, particularly Raja Govardhan Chand, under whose patronage Manaku worked, commissioned paintings on a variety of subjects such as the Bhagavata Purana and the Gita Govinda.

[2] These next-generation painters transformed the style, and more subtle pictorial landscapes, and stylized bodily features, especially the depictions of female bodies, colour choices, etc, underwent considerable changes.

While the Guler paintings depicting Baramasa and Bihari Satasi, composed in oval formats, capture the subtle sentiments of love and human emotions.

However, by the end of the 19th Century, the splendour of the Guler school had declined as artists began to produce cheap copies, and laborious processes of making colours and pigments were discarded as chemical paints became available in the market.