Shiva and Parvati
Kangra, circa 1830
Opaque watercolor heightened with gold on paper 5 3/4 x 4 7/8 in. (14.6 x 12.4 cm.)

Provenance:
The Collection of Helen and Joe Darion, New York, by February 1968 (no. 42).

Shiva and Parvati embody the ideal relationship between husband and wife in the Hindu tradition, setting an example for followers in their own romantic relationships. Shiva has four other wives besides Parvati, but she is arguably the most beloved and well known. The poet Kalidasa tells the story of Parvati’s origins in his epic, “Kumarasambhavam.” The goddess Parvati is commonly known as the divine consort of Shiva, mother to Ganesh and Skanda. The poet Kalidasa tells the story of Parvati’s origins in his epic, “Kumarasambhavam.” Shiva had given himself to the ascetic way of life and retreated to the wilderness, while the demon Taraka had been granted a boon of invincibility so that no creature except for a child of Shiva could take his life. Parvati’s existence was manifested by the need for a wife to bear his child – the gods searched for a consort to bring Shiva out of his reclusion, withdrawn from society and desire, so that he could provide a child to vanquish Taraka. When the gods sent Kama, god of love, to infect Shiva with desire for Parvati, Shiva incinerated Kama out of irritation that the gods would not leave him to be in peace. Before his demise, however, Kama successfully influenced Shiva, who then agreed to marry Parvati (who later convinced him to revive Kama). Subsequently, Parvati is revered as the goddess of love and fertility, symbolizing the duality of domesticity and asceticism. These attributes make her a perfect match for Shiva, whose destructive yet peaceful nature can become volatile; when paired together the two emphasize themes of love and devotion.

The present image is executed by a master Kangra artist, the careful attention to detail throughout the painting surpassing that of contemporaries. The couple appears in the center of the ovular scene on an incredibly intricate throne inlaid with jewels and topped with a plush bolster. The terrace is likewise decorated with alternating patterns, a barrier wall rising in the middle ground to meet a bed of diverse flora. The encircling frame features more foliage on a rich blue, bordered by a vine motif laid onto gold leaf. Even the crowns and jewelry worn by the figures are decadent, indicating how revered Shiva and Parvati are within the region.

Raja Prakash Chand of Guler Smoking Hookah
Kangra, circa 1790-1820
Opaque watercolor heightened with gold on paper
9 1/2 x 7 in. (24.1 x 17.8 cm.)

Provenance:
Doris Wiener Gallery.
Private collection, acquired February 17, 1971.

Maharaja Prakash Chand (r. 1773-1790 / d. 1820) of Guler sits smoking from a long winding stem of a silver-based hookah.  He is shown leaning against a white bolster on a marble terrace with a pale sky rising as backdrop, dressed in a muslin jama and turban with a small aigrette ornament.  The contrast in the painting is provided by the raja’s dark complexion enhanced by a black, carefully trimmed beard and his saber sheath dangling at his waist. 

Prakash Chand was the son of the esteemed Raja Govardhan Chand, under whom Guler flourished as a center of painting in the Pahari region. When he took his father’s role as leader, he not only assumed responsibility for the land, but also for continuing artistic patronage.

Indra Confronting a Maharaja
Kangra, circa 1850
Opaque watercolor heightened with gold on paper
Folio: 12 1/4 x 10 in. (31.1 x 25.4 cm.)
Image: 9 3/4 x 7 in. (24.8 x 17.8 cm.)

Portrait of Maharaja Jagat Singh
Kangra, 19th century
Opaque watercolor heightened with gold on paper
Folio: 15 2/3 x 10 2/3 in. (39.8 x 27.1 cm.)
Image: 10 1/2 x 6 3/4 in. (26.7 x 17.1 cm.)

Radha and Krishna watching Nautch
Kangra, circa 1800-1810
Opaque watercolor heightened with gold on paper
10 x 7 1/8 in. (25.4 x 18 cm.)

Provenance:
Collection of Dr. K. Aterman.
Acquired in London, c. 1950s-1960s.

Published:
Dr. Pratapadiyta Pal, Collecting Art in British India. In Giles Tillotson (ed.), A Passionate Eye: Textiles, Paintings and Sculptures from the Bharany Collections, Marg, 2014, p. 32, no. 17.

Inscribed: Radha Kishen Bharany/Amritsar on verso.

Nautches were a style of dance that became popular in India through the 18th and 19th centuries within the courts of Mughal rulers and ambassadors of the British East India Company. Prior to Nautch, artistic dancing was only executed at temple sites in honor of the represented deity. Dancing for entertainment was popular in Persian courts, and was introduced to the subcontinent through the Mughal kingdom. The word ‘nautch’ is derived from the Prakrit ‘nachcha,’ meaning ‘dance.’ European men found great pleasure in watching Nautch, as there were very few European women in India at the time and it was refreshing to be in the company of such fine ladies.

The present painting portrays Radha and Krishna enthroned on a lotus, observing Nautch with a company of attendants behind them. This work was executed during a time when Nautch was at its zenith and any dinner party or festival would be deemed incomplete without such performance. Nautch girls (dancers who perform Nautch) were considered to be women of taste and high society, possessing quick wit, refined manners, and in depth knowledge of poetry.  James Forbes, a British artist and writer, described Nautch girls in his 1813 Oriental Memoirs as: “…extremely delicate in their person, soft and regular in their features, with a form of perfect symmetry, and although dedicated from infancy to this profession, they in general preserve a decency and modesty in their demeanour, which is more likely to allure than the shameless effrontery of similar characters in other countries.”

Unfortunately, Nautch went out of style in the 20th century, as travel became easier and more European women were transported to India and European sensibilities were imposed on overall society. Even the Indian population turned their backs on Nautch in disdain, as it was considered immoral by the European population and in time, and was phased out of society’s upper echelons. For an in depth discussion of Nautch and its artistic depictions, see P. Nevile, Nautch Girls of India, 1996.

Two Preparatory Drawings from the Mahabharata
Kangra, late 18th-early 19th century
Ink on paper
Approx. 11 1/3 x 12 3/4 in. (29 x 32.5 cm.)

Each drawing here depicts a scene from the Mahabharata, the longest poem ever written and one of India’s greatest epics.  The Sage Vyasa is said to have dictated all 100,000 verses to Ganesha, the patron deity of writers, in the 4th century BCE or earlier. The primary narrative of the Mahabharata revolves around the conflict between the Pandava and Kaurava brothers regarding succession of the throne of Hastinapura. This text also encompasses the famous Bhagavad Gita, which records a conversation between Krishna and the Pandava prince Arjuna before the great Kurukshetra War. 

Drawings like the present works were executed as preparation for paintings – figural outlines would be completed prior to the artist putting down layers of pigment.  One image shows two armies on the brink of collision, appearing that the battalion on the right side is rapidly being overwhelmed with volleys of arrows. This scene is likely depicting one of the many battles that raged over the 18 days of fighting during the Kurukshetra War. The other image shows a crowd of Maharajas and common people excitedly observing a ploughing contest.  The earliest known example of the iron plough in India dates to 700 BCE, and served as an important agricultural tool for over 1,000 years.

A Guru and Student in the Wilderness
Kangra or Guler, circa 1850
Opaque watercolor on paper
Folio: 11 1⁄4 x 14 1⁄8 in. (28.6 x 35.9 cm.)
Image: 8 1⁄8 x 11 1⁄8 in. (20.6 x 28.3 cm.)

Provenance:
Emporium D’Art & Craft, Red Fort, Old Delhi, India. Private collection, Philadelphia, acquired 1 December 1978. Christie’s New York, 18 September 2013, lot 365.

Exhibited:
Lycoming College Gallery; Williamsport Pennsylvania, 1981.

Although unidentified, this scene likely depicts a meeting associated with the Ramayana. There are numerous images similar to the present work that capture the meeting between Narada and Sage Valmiki, wherein Narada convinces the sage to compose the Ramayana. Narada, however, is nearly always shown with his signature vina nearby, so the absence of the instrument indicates that this is likely someone else. Depictions of Valmiki vary, as he is sometimes shown as a younger man and other times shown as an elderly ascetic.  It may be speculated that the older sage is still meant to represent Valmiki in the present work, but that the Shishya (student) is a portrayal of Bharadwaja, one of his disciples. It would have been customary for a sage (rishi, guru) to take a pupil into the wilderness to rid themselves of worldly distractions and meditate in a natural setting.

Virabhadra Nayika
Kangra, late 19th century
Gouache and ink on paper
Folio: 9 1/2 x 7 in. (24.1 x 17.8 cm.)
Image: 7 x 4 3/4 in. (17.8 x 12.1 cm.)

Narasimha
Kangra, 18th century
Opaque watercolor heightened with gold on paper
Folio: 7 1/2 x 8 in. (19 x 20.3 cm.)
Image: 5 3/4 x 6 1/4 in. (14.6 x 15.8 cm.)

Leaf from a Ragamala:
Ragini Seehuti, wife of Raga Malkos
Kangra, 19th century
Opaque watercolor heightened with gold on paper
Folio: 8 x 10 3/4 in. (20.3 x 27.3 cm.)
Image: 6 1/2 x 9 1/4 in. (16.5 x 23.5 cm.) 

Provenance:
Private English Collection.

“Music is a kind of inarticulate unfathomable speech, which leads us to the edge of the Infinite and lets us for a moment gaze into that, observed Carlyle… The Hindus are unanimous in their praise of music, observes Willard, and extol it as one of the sweetest enjoyments of life, in which the gods are praised with due sublimity, kings and princes have their benevolent and heroic actions recited in the most suitable manner, the affluent enjoy its beauties without reproach, the needy by its aid forget their misery, the unfortunate finds relief by giving vent to his sorrow in song, the lover pays the most gratifying compliment to his mistress, and the coy maiden without a blush describes the ardour of her passion” [Randhawa, 1971]
Ragas and raginis are generally construed to mean certain melody molds. Coomaraswamy defined a raga as a selection of notes combined in certain characteristic progressions, and with certain notes more emphasized than others. Why certain sounds, combined in a particular manner, should have influence on the human mind and provoke emotions of joy and sorrow, still remains as unexplained as the effect of colors on emotions. The majority of raga and ragini paintings of the Kangra Ragamala show love scenes. Love is represented according to the classic definition of Keshav Das as viyoga or love in separation, and samyoga or love in union.

Nayika Writing
Kangra, 19th Century
Opaque watercolor heightened with gold on paper
Folio: 9 3/4 x 7 3/4 in. (24.7 x 19.7 cm.)
Image: 8 1/4 x 6 in. (20.9 x 15.2 cm.)

Nayika Bhed, Mugdha: Navala Vadhu (The Newly Wedded)
Kangra, circa 1810
Opaque watercolor heightened with gold on wasli
10 1/4 x 7 3/4 in. (26 x 20 cm.)

Provenance:
Sotheby’s, New York, 21 & 22 March 1990, lot 103.

Nayikas are a classification of heroines categorized by their relationship and response to men. They are put into a fourfold grouping by Keshav Das, according to age: up to sixteen (bala), from sixteen to thirty (taruni), from thirty to fifty-five (PraudhaI), and over fifty-five (vriddha) “The old and the learned say that tender in the years, this Nayika grows gradually, and her brilliance increases day by day” – Randhawa This particular scene is an example of Mugdha or Navodha, which is subsequently divided into Navala- Vadha (the newly wedded).
Here the maiden is seen dressed in green and draped by a delicate translucent orhani, garbed in elaborate jewelry seeking comfort from her confidante. Framed by an oval opening with floral arabesques on the spandrels “The young lady has bowed her head; her face is partly veiled. The submissive grace of the Navodha seen in this picture is so typical of countless Indian brides, particularly in the rural area, which has as yet escaped modern education…. we may almost feel the wild beating of her heart and the tremulous touch of her red-stained fingers…” -Coomaraswamy

Reference
Randhawa, M. S. Kangra Paintings on Love. New Delhi: National Museum, 1962. Print. Pgs. 34, 35, figure 11

Nayika Preparing to Meet Her Beloved
Kangra, Early 19th century
Opaque watercolor heightened with gold on paper
Folio: 10 1/2 x 7 in. (25.4 x 17.7 cm.)
Image: 7 1/2 x 5 in. (19 x 12.7 cm.)

Provenance:
Christie’s, New York, 6 July 1978, lot 64 (listed here as “Telang Ragini of Hindola Raga,” c. 1820).

Equestrian Portrait
Kangra, 18th century
Opaque watercolor heightened with gold on paper
12 1/4 x 10 1/4 in. (31 x 26 cm.)

Provenance:
Former collection of Mr. Stimpfle Hubert, German Ambassador in post at Calcultta in the 1970s.

An Illustration to a Rasikapriya series:
Radha, seated in a pavilion, visited by a female companion dressed as a boy
Kangra, circa 1820
Opaque watercolor heightened with gold on paper
11 x 7 1/2 in.(28 x 19 cm.)

Provenance:
Collection of the late Pearl King (1918-2015).

An actress (Nati) addresses Radha thus: ‘Hearing from you about Krishna, my desire to see him was kindled in me. He embraced me so closely that even now there is pain round my neck. My experience with him last night was exactly the same, as you had related to me.’ -Translation of the text on verso, six lines in nagari script in black and red ink.
In a painted oval, corner pieces with stylized floral and vegetal motifs in silver on a sky-blue ground with rosettes in orange, yellow inner border with nagari inscription in upper border, pink outer border.
Fourteen paintings from this series are in the Victoria and Albert museum, London; see Archer, W.G., Indian painting from the Punjab Hills, London, 1973, Kangra, no.66 (i)-(vi).
The distinct ovaloid format along with yellow margins and floral surroundings are, according to Archer, based on the Lambagraon Baramasa series, dating them to circa 1820.

Recto (top) translation: nati ko vachan radhika prati, ‘an actress addresses Radhika [Radha]’.

Illustration to a Harivamsa series: Narada warns Kamsa
Attributed to Purkhu
Kangra, circa 1800-1820
Opaque watercolor heightened with gold on paper
Folio: 18 1/2 x 14 1/4 in. (47 x 36.2 cm.)
Image: 16 7/8 x 12 1/2 in. (47.5 x 37 cm.)

Provenance:
Acquired by Stanley A Kaplan, in India, during the 1940’s-1950’s.

The Harivamsa (an account of the Dynasty of Hari [Vishnu]) is a work of three chapters appended to the great epic, the Mahabharata. The first chapter contains an account of the creations and the genealogy of the Yadavas, the family of Krishna and Vasudeva descended from their Aryan ancestor, Yadu. The second chapter describes the life of Krishna and his affairs with the gopis, where many of the stories are similar to those in the Bhagavata Purana. The last chapter deals with prophecies of the present age (Kali Yuga) and other matters unconnected with the title of the work. In Hindu mythology Narada is revered for both his sage advice and his notorious mischievous ways, creating some of vedic literatures most humorous tales. He is known as a master of the Veena, and is frequently depicted with one (as in this particular scene). This painting illustrates the following excerpt from the Bhagavata Purana:
“…The great saint Narada descended from the heavenly planets to the forest of Mathura and sent his messenger to Kamsa. When the messenger approached Kamsa and informed him of Narada’s arrival, Kamsa, the leader of the asuras, was very happy and immediately came out of his palace to receive Narada, who was as bright as the sun, as powerful as fire, and free from all tinges of sinful activities. Kamsa accepted Narada as his guest, offered him respectful obeisances and gave him a golden seat, brilliant like the sun. Narada was a friend of the King of heaven, and thus he told Kamsa, the son of Ugrasena, “My dear hero, you have satisfied me with a proper reception, and therefore I shall tell you something secret and confidential. While I was coming here from Nandakanana through the Caitraratha forest, I saw a great meeting of the demigods, who followed me to Sumeru Parvata. We traveled through many holy places, and finally we saw the holy Ganges. While Lord Brahma was consulting the other demigods at the top of Sumeru Hill, I was also present with my stringed instrument, the vina. I shall tell you confidentially that the meeting was held just to plan to kill the asuras, headed by you. You have a younger sister named Devaki, and it is a fact that her eighth son will kill you.” (reference: Hari-vamsa, Visnu-parva 1.2-16)”

Purkhu is one of the master artists of early Kangra Painting. Active from 1780 – 1820, under the patronage of Maharaja Sansar Chand, he is respected for his brilliant execution of emotionally evocative processional scenes. “Purkhu saw individuals essentially as falling into types. There is no insensitivity to appearances, and he was quick to establish distinctions between one person and another… therefore Purkhu was best in rendering large groups: court scenes, processions, statefestivals, private celebrations, and the like. He was able to invest these scenes with the specific character of each occasion. “(Beach, 2011) In this particular painting our eye is immediately drawn to the foreground, where a courtly meeting surrounded by lush topiary is being held. A chowry-bearer fans Kamsa (inscribed above crown) as the king watches Narada (inscribed in red), the most travelled sage, fly away on the upper right, veena in hand. The lush surround of the court scene is reminiscent of Purkhu’s most famous work for the Gita Govinda series often referred to as the Lambagraon Gita Govinda.

Literature:
Archer, W.G., Indian Paintings from the Punjab Hills, London, Parke-Bernet, 1973, I: 294- 295.
Beach, M.C. et al, Masters of Indian Painting: Vol. II, Zurich, 2011, pgs. 728 – 732.
Goswamy, B.N and Fischer, Eberhard, Pahari Masters, Zurich, 1992, pgs. 367- 387.

Krishna paying homage to Radha
Kangra, circa 1810
Opaque watercolor heightened with gold on paper
9 1/3 x 6 3/4 in. (23.7 x 17.1 cm.)

Provenance:
Koller Zurich, 30 October 20154, Lot 549.

Radha lounges on a large cushion with Krishna bowing at her feet, exemplifying his fidelity to her and any prying eyes that may be spying on the lovers. Here, Krishna and Radha embody the nayika and nayak, as so purported in Keshav Das’ Rasikapriya. Within the Rasikapriya, Keshav Das elaborates on the Ashta Nayika, describing eight versions of the heroine.  This work likely depicts the Svadhinapatika Nayika, she who is loyally loved by a husband that is subject to her will. The nayak willingly chooses to submit himself to his lover, as it is not a forced or manipulated form of devotion, but a true commitment to the other. Krishna and Radha assume these roles of the hero bound in companionship and the heroine deserving of fealty described in the Rasikapriya: “….and you, only a mean little cow-girl, have your feet cleaned by him and he, the Lord of the Universe, is constantly clinging to you like your shadow. He takes care of your pettiest affairs, and protects you like betel-leaves kept in the basket and resides in you as the image dwells in the mirror. He runs after the chariot of your desires like the water of the Ganga, which followed in meandering motion the chariot of Bhagiratha. Your words are like scriptures to him. It is, therefore, absurd to try to dissuade him from doing all this even for the sake of saving him from calumny.”

While Krishna is infamous for his philandering ways, it is always Radha that he returns to, yearning for her to reciprocate the infatuation that consumes him so entirely. It is likely that this scene shows the Svadhinapatika Nayika, but the work deviates slightly from the typical presentation of such classification. Other scenes of the Svadhinapatika Nayika show the Nayak cleansing or painting the feet of his beloved, but this image simply depicts Krishna bowing at Radha’s feet. This could be a sort of combination of the Svadhinapatika Nayika and the Khandita Nayika, one whose lover is expected to spend the night with her but instead comes to her the next morning after trysting with another. In these scenes, the nayak is seen bowing to the feet of the nayika, who turns away in hurt. As the present painting appears to be an amicable exchange, it probably is not meant to portray the Khandita Nayika, but given that Krishna is bowing rather than cleaning Radha’s feet, it can be argued that the scene presents the duality of their relationship: a deep sense of loyalty between Radha and Krishna contrasted with the pull of others who demand the Lord’s company. This speculation is a fitting metaphor for god and the devotee – while god is always there for the devoted, he also must care for the rest of his followers without placing too much focus on one individual. For a traditional example of the Svadhinapatika Nayika, see the Pahari drawing of same subject from the Museum of Fine Art Boston, accession number 17.2483.

Love-Lorn Lady
Kangra, circa 1850
Opaque watercolor heightened with gold on paper
Folio: 9 3/4 x 11 5/8 in. (24.8 x 29.5 cm.)

Provenance:
Private English Collection.

Shiva Under Influence of Soma
Kangra, early 19th century
Opaque watercolor heightened with gold on paper
29 1/2 x 18 in. (75 x 46 cm.)

Provenance:
Private German collection.
Private UK collection.

Lakshmi Massaging the Foot of Vishnu
Kangra, circa 1810-1820
Opaque watercolor heightened with gold and silver on paper
Folio: 11 1/8 x 8 ¼ in. (28.5 x 21 cm.)
Image: 9 1/8 x 6 1/8 in. (23.3 x 15.8 cm.)

Provenance:
Private Canadian collection.

Maiden with a Mirror
Kangra, circa 1810
Gouache heightened with gold on paper
6 x 4 ⅞ in. (15.2 x 12.4 cm.)

Provenance:
The Collection of Hellen and Joe Darion, New York, by February 1968 (no. 39).

The wide and focused eye of the young maiden directs the viewer’s gaze directly to the figure’s hand with which she applies kajal in a mirror held by an affectionate child. She has already adorned herself with a tikka (hair ornament), nath (nose ring), earrings, necklaces, armbands, and rings. The vermillion on each of her fingertips matches that of the three layers of her diaphanous garments, decorated with green edges matching the window valence above. She appears to be preparing herself for an important event for which the child below has already been groomed. The child’s lavender dress matches the magenta and yellow textile that hangs over the base of the window, creating a pleasingly cohesive color palette.

The charming portrait is unmistakably Pahari, epitomizing a bold and colorful tradition that embraces naturalistic Mughal techniques. This type of architectural framing (a view through a window) is typical among paintings from Kangra, in particular, as is the deep blue border with a gold foliate motif and a secondary support of speckled pink paper.

Illustration to a Rasikapriya series: Krishna Conversing with a Sakhi
Kangra, circa 1820
Opaque pigments heightened with gold on paper
Image: 9 ¾ x 6 ⅜ in. (24.8 x  16.2 cm.)
Folio: 13 x 9 ⅛ in. (33 x 23.2 cm.)

Provenance:
Royal Mandi Collection.
Private English Collection.

Seated against a floral lattice cushion upon a deep green carpet decorated with scrolling vines, Krishna speaks with Radha’s confidante, a sakhi. Adorned in pearls, with his signature peacock feather crown upon his head, Krishna is the image of princely grace and male virility. The outdoor terrace on which he sits overlooks lush foliage interspersed with pointed cypresses–symbols of Krishna’s ardent desire for Radha. Flowering creepers, a common motif in Kangra painting, curl among the branches. Upon them, pairs of lovebirds sit slightly apart, representing Krishna and Radha’s “love in separation,” one of the repeated themes employed in Rasikapriya series. Above, a clear blue sky belies billowing clouds tinged in bright orange and outlined in silver. A line of black devanagari script above reads ‘pat ini ko vachhan shri Krishna prati‘ (conveying a message to Shri Krishna), folio number ‘262‘ in the upper left corner, the reverse with 9ll.

The verso is inscribed with a couplet from the Rasikapriya in alternating red and black devanagari script, translated with the help of Dr. Harsha Dehejia:

When a poet combines sadness with romantic poetry that is not good poetry. 16.6

A messenger speaks to the nayak:

O Rasiklal! (Krishna). Do not be stubborn, as that nayika on seeing me will give up her pleasures and abandon me as well. She has given up bathing, eating and charity. She cannot think and it seems that she will die any moment. Under these circumstances it is not proper that I go there now as your messenger. Taking a letter from you is out of the question. Even at best she would only reluctantly take love messages and stay away from her friends. These days a furnace burns in her heart. In this state of grief how would she receive me with a smile? 16.7

The sakhi, worried for her companion’s wellbeing, warns Krishna that Radha is in a state of dejection. Urging him to go to Radha himself and end their quarrels, she refuses to act as their messenger any longer. This is an example of “love in separation,” and the toll it is taking on the couple. Even more so, however, this exemplifies the depths of their divine love, and the magnetism between their two souls, urging their union.

Illustration to a Rasikapriya series: Krishna Seated with Radha
Kangra, circa 1820
Opaque pigments heightened with gold on paper
Image: 9 ¾ x 6 ½ in. (24.8 x  16.5 cm.)
Folio: 13 x 9 ⅛ in. (33 x 23.2 cm.)

Provenance:
Royal Mandi Collection.
Private English Collection.

This folio from a Rasikapriya series depicts Krishna and Radha seated on an outdoor terrace. The iconic lovers gaze into eachothers’ eyes–Krishna’s hand barely grazing Radha’s dress as she pinches her dupattā in her right hand. Two sakhis (companions) converse nearby. In the background, lush foliage emerges over the terrace walls. Among the branches sit two birds, resting under a vibrant pink and orange sky framed by undulating clouds. A line of black devanagari script above reads ‘saatvik ki kriti udaharan’ (an example of an involuntary expression of emotion), folio number ‘305‘ in the upper left corner, the reverse with 12ll. This refers to the eight involuntary expressions of emotions, as listed by Keshav Das. These are expressions of ‘stupor, trembling, speechlessness, pallor, tearfullness, perspiration, thrill and fainting.’ (M.S. Randhawa, Kangra Paintings on Love, New Delhi, 1962, p.51).

The verso is inscribed with a couplet from the Rasikapriya in alternating red and black devanagari script, translated with the help of Dr. Harsha Dehejia:

O foolish girl! Abandon all your desires and do not get your heart on fire. Radha and Krishna are the ideal romantic couple, better than Rati and Kama. Even Parvati cannot sow discord between them, and it would be foolish of Saraswati to come in between them. The two of them are of the same mind, they share the same thoughts and have one breath. They may appear two in body but are united by their eyes. 15.9

This is likely a conversation between the two sakhis, one warning the other not to covet the handsome Krishna or attempt to come in between the couple. Watching the two together, she speaks to the divinity of Radha and Krishna’s love, which reaches higher heights than even that of the gods. Not even the god of love himself, Kama, can compete with the depth of their love–and who could, when the union of Radha and Krishna is one and the same as the union of the soul with god?

Illustration to a Rasikapriya series: Krishna Enthroned
Kangra, circa 1820
Opaque pigments heightened with gold on paper
Image: 10 ⅛ x 6 ¾ in. (25.7 x  17.2 cm.)
Folio: 12 ⅞  x 8 ⅝ in. (32.4 x 21.9 cm.)

Provenance:
Royal Mandi Collection.
Private English Collection.

The present painting depicts a sakhi conveying a message to Krishna from Radha, mediating between the two on some matter of love. Krishna sits against an orange bolster cushion on a celadon green throne. He wears a vibrant saffron jama and is adorned in jewels–on his head is his signature peacock feather crown. In the background two lovebirds gaze at each other across the foliage which is interspersed with pointed cypresses–a symbol of Krishna’s passion for Radha. Storm clouds lined in gold descend on the scene, perhaps reflective of some turbulence forming between the fabled lovers. A line of black devanagari script above reads ‘pat ini ko vachhan shri Krishna prati‘ (conveying a message to Shri Krishna), folio number ‘262‘ in the upper left corner, the reverse with 10ll.

The verso is inscribed with a couplet from the Rasikapriya in alternating red and black devanagari script, translated with the help of Dr. Harsha Dehejia:

Having loved her, why is it that you are involved with other women? Do not confuse brass with gold. Even if Saraswati teaches a crow, it cannot sing as sweetly as a cuckoo. Those who like a mango cannot be satisfied with a tamarind. Do desist from your misdemeanours.  12.29

Illustration to a Rasikapriya series: An Older Sakhi Comforts a Forlorn Radha
Kangra, circa 1820
Opaque pigments heightened with gold on paper
Image: 10 x 6 ½ in. (25.4 x  16.4 cm)
Folio: 12 ⅞ x 9 ⅛ in. (32.8 x 23.1 cm.)

Provenance:
Royal Mandi Collection.
Private English Collection.

This folio from a Rasikapriya series  depicts a forlorn Radha, seated on a terrace pavilion overlooking a lake and hills.  Typical of the Pahari style, great attention is paid to the rolling hills in the background – diminutive figures appear dispersed amongst the countryside, rowing in boats, swimming, and strolling in the fields. Lotiform columns frame the scene, almost as if looking through a ‘window to the past.’ Next to Radha sits an older sakhi (companion) who comforts the separated lover amidst her bout of malaise. The folio number ‘198’ is inscribed in the upper left corner, the reverse with 8ll.

A line of black devanagari script above reads ‘radhika ko prakas laghu mana’ (Radhika’s manifested state of slight separation). According to Keshav Das, mana is the separation of lovers due to jealousy and obduracy. Laghu mana occurs when the nayika herself sees the nayaka with another woman. 

The verso is inscribed with a couplet from the Rasikapriya in alternating red and black devanagari script:

Sakhi: “Even the pretence of annoyance with the dear one is unworthy, and such indifference is indeed unimaginable.”
Radha: “Who is dear, if he is himself indifferent?”
Sakhi: “Only yesterday he was sending his messages of solicitude through me.”
Radha: “Why did you not come yesterday, if you profess goodness?”
Sakhi: “Today I offer to act as a truce-maker.”
Radha: “It seems you will only cause a breach, for I am disillusioned by the deeds of Krishna, who like a kanera bud is white within, though red without.”
Sakhi: “Is there a witness who can be asked to verify this accusation?”
Radha: “I would need no witness, for I have seen things myself.”

(M.S. Randhawa, Kangra Paintings on Love, New Delhi, 1962, p.91)

If the union of Krishna and Radha is likened to the union of the soul with God, then Radha’s mana is the ego that separates one from holiness. Despite her sakhi’s guidance, Radha’s obdurancy prevents her from reuniting with her lover. While her accusations of Krishna’s promiscuous behavior are likely true, the glory of their love supersedes any past transgression–to achieve sublimity once again, Radha must set aside her pride and forgive.

Illustration to a Rasikapriya series: Krishna and Radha at a Jharokha Window
Kangra, circa 1820
Opaque pigments heightened with gold on paper
Image: 10 ⅜ x 6 ¾ in. (26.4 x  17.3 cm.)
Folio: 12 ⅞ x 9 ¼ in. (32.8 x 23.5 cm.)

Provenance:
Royal Mandi Collection.
Private English Collection.

The present painting from a Rasikapriya series depicts Krishna and Radha seated in a Jharoka window–it’s lotiform columns complemented by delicate pink florals on either side. Two sakhis converse in the fenced terrace below, overlooking a lush flower garden and decorative fountain.  Adorned in a peacock feather crown, Krishna lovingly gazes at Radhas’s beautiful visage, yet she will not meet his eyes. Instead she stares at the small scratches scattered across her lover’s chest, and pinches her dupatta in her left hand, pulling it as if to shield herself. The folio number ‘193’ is inscribed in the upper left corner, the reverse with 12ll.

A line of black devanagari script above reads, ‘radhika ko prachann guru mana’ (Radhika’s secret state of heavy separation), referring to the manifestation of pride, or jealousy, induced by seeing or hearing evidence of another woman. Guru mana is the strongest mana, and reflects the fullness of one’s love, ultimately enhancing it’s sublimity.

The verso is inscribed with a couplet from the Rasikapriya in alternating red and black devanagari script:

 “Forgetting his quarrel with Radha, Krishna met her and revelled in the enchantment of her beauty, love and laughter. On seeing nail-marks on his person beneath his garment, she turned her gaze away, and her eyes drooped like a lotus flower at the sight of the moon.” (M.S. Randhawa, Kangra Paintings on Love, New Delhi, 1962, p.89)

The couple’s famously tempestuous love affair is captured here, filled with longing and jealousy. While Krishna has countless love affairs with other women, his ardent devotion to Radha always brings him back to her. Thus, despite their many quarrels, their romance is considered to be a manifestation of a pure and eternal love.

Illustration to a Rasikapriya series: Radha Seated with a Confidant in a Pavilion
Kangra, circa 1820
Opaque pigments heightened with gold on paper
Image: 10 ⅞ x 7 in. (27.6 x  17.7 cm.)
Folio: 13 x 9 ¼ in. (33 x 23.5 cm.)

Provenance:
Mandi Royal Collection.
Private English Collection.

Seated upon a lush carpet of scrolling florals, Radha listens attentively to her sakhī, one hand resting on a vibrant orange cushion as the other is raised to her chin. Outside, blooming creepers peek out among the foliage–two love birds sit apart among the branches, just as the separated lovers Radha and Krishna. The yoni and phallus shaped vessels behind Radha, as well as the tall pointed minaret, are symbolic of desire and longing. A line of black devanagari script above reads  ‘krishna ko prakas guru mana’ (Krishna’s manifested state of heavy separation), referring to Radha’s state of distress caused by her quarrels with Krishna. The folio number ‘196‘ is inscribed in the upper left corner, the reverse with 9ll.

The verso is inscribed with a couplet from the Rasikapriya in alternating red and black devanagari script:

Sakhī to nāyikā: “If you have a complaint against your dear one, you should speak of it only in private to him; it would be wrong to disclose his guilts publicly. If his eyes stray in undesirable directions, you may try to restrain them, but not to prick them with a knife. Remember, he is the same Śyāma, separation from whom can kindle such a fire in the hearts of women that a solution of camphor will have to be sprayed to cool it. You should speak as propriety demands, and not speak harshly to one who has abandoned everything for the sake of your love.” (M.S. Randhawa, Kangra Paintings on Love, New Delhi, 1962, p.90)

Illustration to the Ashta Nayika: Abhisandhita Nayika
Kangra, late 19th century
Gouache and gold on paper
10 ½ x 14 ⅛ in. (26.7 x 35.9 cm.)

Abhisandhita Nayika, the dejected lover, is she who is estranged by a quarrel. Overcome with pride, this heroine rejects her beloved and disregards his devotion despite his apologies. Unable to soften her anger, he departs. Her indifference is but a facade, though, and in his absence she burns with remorse. The result is Vipralambha Mana, love in separation on account of pride, representing the intrusion of the ego between the soul and Brahman. Hindi poet Keshav Das describes Mana as the sentiment of pride incited by love, ultimately enhancing its glory.

The distraught nayika sits in the bottom left corner, her face full of sorrow. Her saki consoles her while musicians attempt to comfort her with soothing music. Her beloved appears with his back turned at the opposite side of the painting, solemnly leaving the palace. Much of the composition features complex architectural elements, including a lush courtyard housing detailed foliage of various shades of green. Such verdant greenery and precise architectural detail are characteristic of nineteenth-century Kangra painting, as is the pastel palette and soft, clean lines. 

Depictions of love in all its forms were popular subjects in Kangra painting. These artists incorporated many fine aspects of Mughal painting, producing a style characterized by brilliant colors, rhythmic line drawings, and extreme attention to detail. The current example leaves the viewer not only with a sense of the impeccable artistry of the Kangra painters but also with an overwhelming feeling of romance and all the trials that come with it.

For another depiction of this subject from late 19th century Kangra, see the Abhisandita Nayika in the collection of the Victoria & Albert Museum, London (IS.40-1949).

Ganesha Enthroned
Kangra, first half of the 19th century
Gouache heightened with gold on paper
10 3/4 x 11 in. (27.2 x 28 cm.)

The bestower of good fortune, remover of obstacles, and god of new beginnings sits here enthroned, consuming sweets. He appears at ease, his gaze as relaxed as his posture, encouraging his snake to take part in the snack. The tilaka and crescent moon which grace the divine elephant-headed god’s temple are marks of his divinity and transcendent knowledge. He is attended to by two lavishly dressed women in full jewelry sets and layered textiles in hues that create continuity in the palette and connect the attendants to their object of veneration. Playful patterns and bright colors give great vibrancy to this miniature painting of the widely adored god, Ganesha.

Illustration to a Baramasa series: The Month of Pausha
Kangra, circa 1810
Opaque watercolor heightened with gold on paper
Image: 9 x 5 ⅜ in. (22.9 x 13.7 cm.)
Folio: 11 x 8 in. (27.9 x 20.3 cm.)

Provenance:
Royal Mandi Collection.
Private European collection, acquired from the above in 1969.

Baramasa (or ‘the twelve months’) in Indian poetry expresses the many emotions of love—particularly that of the nayika longing for her beloved—against the backdrop of the changing seasons. The poet Keshavdas contributed greatly to the popularity of the baramasa, his version being favored by the artists within the Kangra school who were known for their charming depictions of romance. The present painting illustrates the winter month of Pausha (December–January), identified by a verso inscription of Keshavdas’ poetry describing the mood of the month:

Icy is the water, cold and unappealing are the clothes and bed upon which one sleeps.

So says Keshavdas, the sky and the land are so frigid as to destroy life.

Men and women massage with oil and wear cotton to keep warm.

Whether king or pauper this is their only activity.

The days are short, the nights are long and unappealing if one’s lover is angry.

Keep this in mind oh lovers and do not go down this path.

The composition also includes many features that point to the season. As Pausha is not the time of year to quarrel with one’s lover, Krishna and Radha are shown in union, seated in conversation beside a brazier of glowing coals, cloaked in orange and green shawls to provide extra warmth. In the distance beyond the terrace, figures are massaged with oil (a popular wintertime activity), and men and women sit and roam throughout the village. Brilliant gold detailing is flecked throughout, most notably on the splendid garments of the divine couple. 

For a similar depiction of the month of Pausha see W.G. Archer, Indian Paintings from the Punjab Hills, London, 1973, vol. II, no. 3(ii) p. 335. Both paintings are enclosed within fine floral-patterned spandrels and feature Krishna and Radha seated on a terrace overlooking a village with strikingly similar architectural details, figures receiving oil massages, and hills in the background.