In the history of art often, older art schools influence later forms of art. This happens in paintings, sculpture and also in architecture.
The artists in later ages, when exposed to older styles may reintroduce those styles with different modifications in their work.
New creative experimentations inspired by previous styles result in new forms and presentations that create bridges between the old and the new.
In the area where the schools of Pahari painting developed and continued through the repetitive process limited experimentation was done and the innovation in later years was very limited indeed.
The main intention for learning Pahari painting in later years was to produce marketable pieces that can be sold to Indian and foreign collectors.
When copies of old paintings are "market tested" and are easier to produce in the set manner, copy masters take the place of real original artists.
Continuous copy work from the pictures of old paintings, deprived the copy masters from the growth and development of imaginative powers and innovation in the real sense never took place.
At most they could change or reallocate some figures or features in the composition or just mix the figures of two compositions but never understood the meaning of creative freedom in their psyche created by constant repetitive copy work.
When the area of success is measured by the evaluating scale of money and awards received, the sphere of creative freedom that is free from thoughts of commercial gains and showcased awards, is not of importance.
Moreover when a technical form rigidly binds a form of art, that rigidity itself is a an obstacle for experimentation in new methods concerning that school of art.
Stagnation is the result in general and the copy masters are controlled by the demand in the market, which obviously in the case of Pahari painting is for compositions in the old forms only.
Only at a place that is free from such constrictions and pressures of market orientation, new experimentations can be made and new schools can be created with the influence of the old schools.
Even more than hundred years ago, when Abanindra Nath Tagore and some other artists were shown North Indian miniature paintings that included Mughal and Pahari both, they were deeply influenced and saw the possibilities of creating new forms.
Undoubtedly, Bengal school of art, that was influenced by far eastern painting also, was influenced by north Indian miniature painting.
The technical aspect was entirely different in Bengal school of art miniatures. Instead of applying uniform opaque colours, wash techniques of multiple transparent washes were used.
The subjects were not the same necessarily though Radha Krishna lila was a theme, and the compositional forms were totally innovative.
Artistic freedom was the main objective and creativity reached new heights of sensitivity in Bengal school of art.
Yet, we should remember, that the positive influence of the miniature paintings from north India was important in the development of Bengal school of art that played such an important part in the renaissance of Bengal.
Patna school of art, was also influenced by North Indian miniature painting styles. Both Patna school of art and Bengal school of art absorbed many technical aspects from European style of painting too.