Krishna The Divine Dalliance PDF

Art Passages
Krishna
The Divine Dalliance
Art Passages
Indian and SE Asian Art
Krishna
Indian Miniature Paintings
from the 17th through the 19th century
Catalogued by Robert J. Del Bontà
Art Passages, San Francisco, California, USA

1-415-690-9077, info@artpassages.com, www.artpassages.com
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It is with great anticipation and enthusiasm that I present this group of paintings centered around Krishna.
I have been fascinated with Krishna for a long time. Perhaps it is because no other god in the Indian pan-
theon dwells more seamlessly than Krishna does in both the realm of man and that of the divine. Whether
one thinks of Krishna as a mischievous little boy with an unquenchable obsession for butter and then acting
with god-like powers killing demons, or as a young adolescent teasing the gopis (female cow-maidens) and
again accomplishing super-human feats, one can’t help but be in awe of him. His adulthood seems all too
human at times with his unrepentant pursuit of Radha as his love interest. At other times, he is yet again
facing demons and achieving victory as only a god can. It is out of awe and admiration that these visual
recordings of Krishna’s story are presented here.
I would like to thank Dr. Robert J. Del Bontà for his excellent research in writing the catalogue entries. I
would also like to thank Shapour Ghasemi for his beautiful design and layout of this catalogue.
Shawn Ghassemi
Designed by Shapour Ghasemi
© 2013 by Art Passages. All rights reserved under the Pan-American and International Copyright Conventions.
Cover page: Krishna watches Radha perform Linga Puja, Kishangarh, India, C. 1780
Introduction Shri Nathji is actually a child god, usually taken to be eternally seven years old. As a swarupa, being self-mani-
fested and not made by man, the image is the god himself and treated as a living presence. Because of this fact,
Krishna requires a great deal of attention. Many of the priests who wait on him are descendants of Vallabha, the
Krishna
founder of the sect. A number of other swarupa images were discovered and some are housed in the haveli (the
One may approach Krishna from various angles. The literature on Krishna offers a combination of traditions in-
house where the god lives) in Nathadwara along with the Shri Nathji image, but others are housed in temples as-
volving both a cow-herd god and an epic hero. He exists as both a man with typical foibles and an all-knowing and
sociated with the sect in other locations.
powerful god. At times texts suggest his godhood by describing him with the usual four arms associated with the
god Vishnu of whom he is an incarnation. Later it will turn him back into human form having only two arms, with
The Pushtimarg sect concentrates on this child image and although there is some reference to Krishna consorting
actions merely hinting at his divine status. There is only one example of Krishna with four arms in the catalogue,
with the gopis or cow-maidens, one must recall that the child is only about seven years old. The emphasis is on
cat. no. 30 and iconic images of Krishna with four arms in cat. nos. 32 and 36.
devotion, bhakti, to the child god — a motherly and fatherly devotion. This is quite different from other important
Vaishnava sects focused on Krishna where devotees approach the god as a lover. One can also play the role of
The catalogue is organized essentially to tell the story of his life in a chronological manner. We start with the child-
friend, the gopas (cow-herds) and gopis (cow-maidens), or even the role of one of Radha’s friends, the sakhis, in
hood episodes (cat. nos. 1-7) and then move on into his adolescence as a cow-herd, followed by his romantic
one’s devotion to the Lord. The Bhakta, the practitioner of Bhakti, can approach the god from various directions,
dalliances (cat. nos. 8-22). After he leaves the life of a cow-herd he appears as an epic hero (cat. nos. 23-24).
but the point is to make a direct, loving connection with the god.
These two paintings come from an important series of paintings illustrating the Harivamsha.
The texts concerning Krishna stress different aspects of the god. In the Mahabharata he is a hero who only rarely
Robert J. Del Bontà
shows his divinity. It is with the addition of the Bhagavad Gita within the text during the core of the battle between
the Pandava brothers and their cousins the Kauravas that his godhood is clearly displayed. The Harivamsha
(probably appended to the earlier Mahabharata around 450 AD) was added to fill in background for Krishna, dis-
Acknowledgements:
playing his godhood that is essentially absent from the epic literature where he is a secondary figure to the main
I would like to thank the following scholars for discussing some of the inscriptions and paintings with me: Sonal
story itself. It also expands on his relationships with the heroes of the Mahabharata. The Bhagavata Purana (also
Acharya, Molly Emma Aitken, Joachim Bautze, Debra Diamond, Catherine Glynn, John Stratton Hawley, Rochelle
known as the Shrimad Bhagavatam), which was illustrated often, was written even later and further develops
Kessler, Naval Krishna, Kalyan Krishna, Tryna Lyons, and Kay Talwar.
his history especially adding stories of his childhood displaying many moments which underscore the fact that
Krishna is god.
The catalogue ends with an important selection of devotional works, primarily iconic, from the pilgrimage center
at Nathadwara (cat. nos. 26-32). These works include some narrative material, but on the whole the intent of the
paintings has to do with worship. It is necessary to stress that imbedded in this worship is the physical presence
of the god. His devotees relive many of his life events including exploits from his day to day childhood and merely
hint at his later amorous dalliances. These Nathadwara paintings are followed by a few pictures that display the
worship of Krishna at other North Indian centers (cat. nos. 33-36). Three relate to the Nathadwara sect, while a
fourth offers another important Krishna image from a temple associated with the Maharana of Udaipur.
Radha
While Radha is not mentioned in the epic literature, she became increasingly important in the sects devoted to
bhakti or direct devotion to the god and she probably appears in at least ten of the paintings, being a focus in cat.
nos. 13-22. In the southern part of India Radha does not take on the same prominence, probably due to the illicit
nature of Radha and Krishna’s dalliance. In the South, bhakti usually is manifested by stressing the child Krishna,
motherly love is as compelling as romantic love (cat. nos. 2-4, 27 and 29). When Krishna as an adult is linked with
a female figure in the southern tradition, it is with one of his legal wives; usually Rukmini, but sometimes other
important consorts like Satyabhama. Curiously, it is the very illicit nature of the love between Radha and Krishna
Important books relating to Krishna and the Shri Nathji cult include:
that makes the metaphor of the love for god more poignant. One gives up everything for the lord.
Amit Ambalal, Krishna as Shrinathji: Rajasthani Paintings from Nathdwara, Ahmedabad, Mapin, 1987.
Nathadwara Paintings
Nathadwara is the center of the Vallabhacarya Sampradaya sect, followers of the saint Vallabhacarya (1479- W. G. Archer, The Loves of Krishna, in Indian Paining and Poetry, New York: Grove Press, n.d.
1531). It is also known as Pushtimarg, the Path to Grace. Vallabha had been drawn to the area of Braj (Vraj) where
Kalyan Krishna and Kay Talwar, In Adoration of Krishna, Pichhwais of Shrinathji, Tapi Collection, Surat and Mumbai: Garden
Krishna had spent his childhood. There he discovered the living image of the god on Mount Govardhana, an event
Silk Mills and New Delhi: Roli Books Private Limited, 2007.
depicted in cat. no. 25. The sect focuses on that image of Shri Nathji which is in the pose of lifting this mountain,
an important miracle from Krishna’s youth. Other devotional sects in the area focus on other aspects of the god’s Tryna Lyons, The Artists of Nathadwara: The Practice of Painting in Rajasthan, Bloomington: Indian University Press, 2004.
history. The image was first housed in a temple on the mountain itself, but later moved to Nathadwara to protect
it from the threat of destruction. Robert Skelton, Rajasthani Temple Hangings of the Krishna Cult, New York: Federation of Arts, 1973.
04 05
reverse side
1. Markandeya’s Vision
Page from an artist’s sketch-book
Karnataka, Mysore, mid-19th century
Ink and color wash on paper
81/8 x 61/2 in, 20.5 x 16.5 cm uninscribed
This drawing of the child Krishna lying on a leaf and sucking his toe is far more complicated than it appears on the
surface. It relates to a number of myths. Its primary origin is a story from a section of the Mahabharata that tells of
the sage Markandeya roaming the cosmic ocean during the period of dissolution when the entire world had been
destroyed. He saw a small child floating on a leaf and approached him. He then crawled into the child’s mouth
and saw the entire universe.
A later suggestion of this seeming contradiction between a tiny child and the full extant of creation occurs when his
step-mother Yashoda peers into Krishna’s mouth because he has been eating mud: she sees the entire universe,
a glimpse of Krishna’s divine nature that she gets from time to time, only then to forget it. This composition is often
labeled as the baby Krishna floating on the Cosmic Sea, which ties the image to that of Vishnu in his sleeping
aspect, Anantashayana, during the period when all the world has dissolved and Vishnu sleeps lying on his snake,
Ananta, in the Sea of Milk.
The reverse side of this drawing depicts the monkey deity Hanuman.
For a discussion of Markandeya’s vision see: Joan Cummins, Vishnu: Hinduism’s Blue-Skinned Savior, Ahmeda-
bad: Mapin, 2011, pp. 104-05.
06 Krishna also sucks his toe under a cart-demon in Bhagavata Purana. X. 9. 24-25.
reverse side
2. Yashoda with Krishna in her Arms

Krishna is worshipped in many ways; one is as an infant which shows up in a few examples in the catalogue.
Krishna was actually the son of Vasudeva and Devaki, the King and Queen of Mathura, but Devaki’s brother
Khamsa had usurped the throne. To protect himself from a prophesy, Khamsa kept killing her children. When
Krishna was born he was taken from his mother and brought to the village of cow-herds and substituted for a baby
girl who had just been born to Yashoda. This was necessary so that Krishna’s evil uncle Khamsa would not kill
him. Unaware of the switch Yashoda and her husband raised the child as their own.
This drawing also relates to a long tradition of mother goddesses in Indian art where the women are depicted
with a child in their arms. Here the baby Krishna is quite animated displaying a rather adult gesture as if he is
expounding some deep philosophical doctrine to Yashoda. He carries a decorated flute and the entire drawing is
quite lively.
08 The reverse side of the drawing depicts a parrot on an elaborate pedestal.

3. Krishna and Balarama with Yashoda and Nanda
From a Sur Sagar series
Rajasthan, Mewar, ca. 1680-1700
Ink, opaque watercolor, and gold on paper
133/4 x 91/2 in, 35 x 24 cm
Surdas was a blind poet who lived in the first half of sixteenth century at Agra and has left a large legacy. The
poem above the painting describes most of what we see. Krishna and his older brother Balarama demand bread
and butter from Yashoda, but she goes on with her household work. Balarama then grabs for the jewel in her
nose and Krishna pulls on her braid. The poem then compares these acts to a hamsa bird (a goose, white like
Balarama) pecking at pearls and a peacock (Krishna) attacking a snake, scenes depicted below the family group.
Nanda, Krishna’s step-father, is flooded with love and Yashoda is filled with happiness at the good deeds done in
her past life. Common to the paintings in this series we see the blind Sur Das singing the poem in the lower left.
He accompanies himself with small cymbals (manjira). His poems are sung to the tunes of particular ragas, here
Dhanyashri as noted at the beginning of the verse. It is unclear who the two men discoursing in the pavilion at the
top right may be.
Other paintings from the series are found in the San Diego, Los Angeles, Yale, and Baroda museums, and private
collections. Illustrating poems from the collection known as the Sur Sagar (the Ocean of Sur [Das]) appear to have
been quite popular at Udaipur.
Appreciation is due for help on reading the poem to John Stratton Hawley. For Surdas and his poetry see his Sūr
10 Dās, Poet, Singer, Saint, Seattle: University of Washington Press, 1984.
4. Krishna Tied to the Mortar, Damodara
From a Bhagavata Purana series
Rajasthan, Mewar, ca. 1690
10 x 81/8 in, 25.5 x 20.5 cm
In an event from Krishna’s childhood, there is an important event underscoring Krishna’s divinity. The Sanskrit
Bhagavata Purana. X. 10 tells the story of the release of two yakshas, Nalakubera and Manigriva, sons of Ku-
bera, who had been transformed into two Arjuna trees. As Krishna crawled on the ground, he dragged the mortar
between the trees that were intertwined. This pulled them down and released the two yakshas. The vernacular
text above relates to the end of the previous chapter which described Yashoda’s discovery of Krishna stealing
butter. To keep him from his antics she tied him to the mortar (Damodara, “tied with a rope”). We see him poised
to perform his miracle. The verse suggests that he is still unaware of the trees, since it describes him with butter
on his face or body and tears in his eyes.
He is accompanied by some of the gopas, the boy cow-herds. The cow-herd’s sticks, vetras, which they carry, are
used to prod the animals, but the fact that a group of them with a ball are depicted in the bower suggests that the
young cow-herds use them to play some sort of game.
The formal setting for this painting is striking, with just enough asymmetry to make it more interesting. The large
plantain fronds to the right of the bower balance the three boys to the left in the foreground quite nicely, while the
spacing of the boys and Krishna offers another pleasing balance.
12 Appreciation is due for help reading the verse to Sonal Acharya.

reverse side
5. Krishna Quelling Kaliya, Kaliyamardana

One of Krishna’s most popular exploits as a child illustrates both his divine power and his compassion. Kaliya was
a threat to the cow-herds because his venom was poisoning the water of the river. When Krishna entered the wa-
ter, the two got into an impressive combat. Eventually Krishna danced on the head of the serpent, subduing him.
Often the scene is depicted in the Yamuna (Jumna) River with the wives of Kaliya pleading for mercy. Here the
image is more iconic and less narrative, again underscoring the divine nature of the young Krishna. Catalogue no.
32 includes a small vignette of this scene showing the nagini (snake) wives of Kaliya in the scene. It appears at
the very bottom left of the inner row of paintings surrounding the picchavai.
There is another drawing of Krishna holding a flute and snake on the reverse.
14 This story is told in the Bhagavata Purana. X. 16.

6. Krishna Fluting, Venugopala
Central India, Madhya Pradesh, Datia, ca. 1760
Ink, opaque watercolor, gold, pearls, and semi-precious stones on paper
Krishna is often depicted as Venugopala, playing his flute (the venu), as protector of the cows (go-pala). Here the
mannered physiognomy of Krishna is very tall, as are the male figures to his left. Recession into space is sug-
gested by the horizontal bands of land, vegetation, and river that back the main figure. He stands on an elaborate
base that is topped by a lotus form. Actual jewels and pearls encrust the throne and figure of Krishna, while the
four attendants wear pearls, creating a sumptuous effect. There is a rather varied palette to the whole with intricate
colored floral designs at the ends of his sashes, while his main garment is a bright vermillion adorned with a gold
pattern. Krishna wears a crown known as a kirtimukuta. The male attendants carry camaras or yak-tail fly-whisks,
a sign of the divinity of the figure of Krishna although the gopis and gopas were unaware of his divine nature.
The mannered style of the figures is somewhat hard to place but there is a similar painting in an album in the
Bodleian Library (Douce Or. a.3) which is accompanied only by male devotees and a cow. There are another
nine paintings from the same group in the album and they indicate that this highly mannered style is from Datia
16 in Central India.
reverse side
7. Krishna Fluting, Venugopala

In a more typical depiction of Krishna Venugopala, we see him standing in a cross-legged pose. Here he floats in
front of a decorated cow who then bends around, fondly licking the god’s heel. It may not be obvious but the impli-
cations of bhakti are essential to our reading of this scene. There are many kinds of love and the one for the cow is
important to a few of India’s religions. Here Vatsalya, calf love, is equated with maternal love and can become the
love for the cow as a maternal symbol. This relationship can then be inverted as seen in the picchavai depicting
Gopashtami, catalogue no. 34 where the cows come to the flute-playing Krishna in devotion to him. This in turn
relates to the gopis’ and gopas’ devotion and love for Krishna. Bhagavata Purana. X. 21 devotes long passages
to the song of the flute and the amorous mood it creates. Representations of actual sculptures of Krishna in this
form also appear on the altar depicted in the picchavai, cat. no. 32.
18 There is a drawing of the goddess Lakshmi being lustrated by elephants, known as Gaja Lakshmi, on the reverse.
8. Krishna with the Gopis Under a Tree, Dan-lila
Rajasthan, Kotah, ca. 1760
113/8 x 81/4 in, 29 x 21 cm uninscribed
Krishna stands under a tree with his legs crossed at the knee holding his flute and accepting an offering of curds
from one of the gopis, cow-maidens. Cows and dog-like calves come to praise the Lord along with a pair of egrets
and a group of scampering, colorful ducks. The white Balarama stands to the side holding his plow and seems to
acknowledge the gift to his brother. The scene takes place on the bank of a stream and against a mountain form
surrounded by distant trees and a sunset. It refers obliquely to the toll of curds, called dan-lila in poetry, seen in
cat. no. 9.
Eight other paintings in the Bodleain Library (Douce Or. b.3) are clearly from the same series of paintings with
identical borders. They represent three incarnations of the god Vishnu (Narasimha, Parashurama, and Buddha),
suggesting that this painting could be from a group of the Dasavatara, the ten main incarnations of Vishnu.
This also could be a painting from a Ragamala series since the iconography of the dan-lila is sometimes used for
Gujari ragini. A published verse, describing a scene with three women, reads:
Its time is two hours after sunrise.

Three fair-faced damsels are bringing water from the River Jumna.
Kisandeo (Krishna) having obstructed their way,
he makes jokes with them and does not allow them to proceed.
20 Text from Klaus Ebeling, Ragamala Painting, Basel: Ravi Kumar, 1973, p. 146.
9. The Toll of Curds, Dan-Lila
Rajasthan, Bikaner, 18th century
Ink on paper pots litter the ground. Krishna himself grabs one of the gopis who turns from him and apparently has lost her pot.
The delicate lines of the drawing of the figures contrast with the bolder rendering of the cow-herd’s sticks, vetras,
8 x 113/4 in, 20 x 30 cm uninscribed which create a tension in the left hand of the composition absent from the figures of the gopis to the right.
This is clearly a representation of the dan-lila, the gift of curds that takes place on Mount Govardhana at the Daan Published in: Sotheby’s, The Stuart Cary Welch Collection, Part Two, Arts of India, London 31 May 2011, lot 32.
Ghati. Here much activity takes place. Krishna along with the other gopas, cow-herd boys, appears in a raucous There it was published as Rajasthan, Mewar or Sawar, 18th century, but elements point to Bikaner, especially the
22 scene taking the lotas, pots holding the curds, from the gopis, cow-maidens, and fighting over them. A few broken faces of a few of the gopis. 23
10. Radha Adorns Krishna with a Tilak
Rajasthan, Bundi, ca. 1750
Ink, opaque watercolor, and gold (silver or tin?) on paper
Folio 101/2 x 71/2 in, 26.5 x 19 cm

Painting 81/8 x 51/2 in, 20.5 x 14 cm uninscribed
Here the gopis offer obeisance to Krishna; one kneels at his feet while another places an auspicious mark, a tilak,
on his forehead. It is possible to identify the woman placing the mark as Radha, but that is not necessary to read
this adoration scene as taking place during Krishna’s young adulthood. An attendant gopa holds aloft a camara,
a yak-tail fly-whisk, an attribute of royalty. The storm clouds may suggest that this is actually a ragamala paint-
ing, one of the raginis, similar to those seen in cat. nos. 11 and 12. But the depiction of the rainy season ties into
much of Indian romantic poetry, not just those poems associated with ragamala series. Storm clouds signify the
24 monsoon, conjuring up the idea of love when all of nature becomes lush, springing to life.
11. Krishna Dancing with Gopis, Vasanta ragini
Vasanta ragini from a Ragamala series, ascribed to Ibrahim
Rajasthan, Bikaner, ca. early 1690s
6 x 47/8 in, 15.5 x 12.5 cm inscribed on the back
The text on the back states this is Vasanta ragini of Dipak raga and painted by Viraham, who is Ibrahim, the son
of the celebrated Bikaneri painter Ruknuddin. The variant of his name is seen in a number of published examples
of his work. The title is numbered 21 corresponding to the system of ragamala organization called the ‘Painters
System’ in Ebeling’s major work on ragamalas. Vasanta is a ragini of Spring, the time of the rainy season.
Framed by a cloud-like massive mountain Krishna dances while accompanying himself on an Indian lute known
as a Rudra vina. Two gopis to each side complete the ensemble for his dance. Ibrahim has angled the figure in
such a way that his nimble movement is accentuated. The pad of lotus petals at his feet suggests his divinity.
Along with the swirling clouds in the sky, the bold colors and minute detailing add a great vitality to the painting.
In a popular series of couplets ascribed to the poet Kashyapa, the ragini is described thus: For a discussion of Ruknuddin, his family, and followers see: Naval Krishna, “Bikaneri Miniature Painting Work-
shop of Ruknuddin, Ibrahim and Nathu,” Lalit Kala 21 (1990), 23-37.
His topknot, bound with peacock feathers, is erect: his face, because of the burgeoning mango-shoot, is as For a translation from the Gita Govinda appropriate for this scene see: Ernst and Rose Leonore Waldschmidt,
a flower. Elephantlike, in the forest joyfully, he wanders among the gopis, (such is) Vasanta Raga. Miniatures of Musical inspiration in the collection of the Berlin Museum of Indian Art, Berlin: Museum für Indische
26 Text from Klaus Ebeling, Ragamala Painting, Basel: Ravi Kumar, 1973, p. 124. Kunst, 1975, p. 35. Poetic traditions of India share much of the same romantic imagery. 27
12. Krishna Dancing with the Gopis, Megha ragini?
Possibly Megha ragini from a Ragamala series
Bengal, Murshidabad, ca. 1790
Ink, watercolor, and gold on paper
9 x 61/2 in, 23 x 16.5 cm uninscribed
Although not inscribed, this painting is probably a ragini, either Vasant or Megha. In the iconography of both these
raginis Krishna dances, in one for the rains and in the other for the blooms. In their important work on ragamala
paintings the Waldschmidts mention that Vasant and Megha are often similar, but in Megha the lotus flower takes
the place of the mango blossom in Vasanta. The numerous lotus blossoms in the water suggest that this is meant
to be Megha ragini.
Krishna dances in an elegant pose and seems intent on the blossoms filling the zig-zagging stream. Two gopis
accompany his dance on a drum and cymbals and two others hold umbrellas to shelter their hero from the rain.
Playful birds fly about, celebrating Krishna’s dance.
In a popular series of couplets ascribed to the poet Kashyapa, the ragini is described thus:
Of blue splendor, attached to the roar of the rain-cloud; of tender body and lovely form, proud and playful
be — the god of love — is said to be Megha Raga.
Text from Klaus Ebeling, Ragamala Painting, Basel: Ravi Kumar, 1973, p. 126.
For another appropriate poem see: Ernst and Rose Leonore Waldschmidt, Miniatues of Musical inspiration in the
28 collection of the Berlin Museum of Indian Art, Berlin: Museum für Indische Kunst, 1975, p. 45.
13. Gopis adore Krishna and Radha on a Swing, The Festival of Jhulan Purnima
Rajasthan, Kishangarh, ca.1725-50
Ink and opaque watercolor, on paper
Fanning out at the back of a large horizontal tank full of lotuses, a large number of gopis or cow-maidens, play
music and celebrate Radha and Krishna standing on a swing under a radiating sun. The scene is repeated in ever
smaller versions in background. The festival being observed is Jhulan Purnima, celebrated at the full-moon in the
auspicious month of Shravana. To this day worshippers place images of Krishna and Radha on a swing during this
festival and their love is celebrated. This is especially true in Brindavan (Vrindavan) where Krishna had grown up.
The Kishangarh style is noted for the exaggerated stylized facial types with their elongated curving eyes and the
fine treatment of much of the detail. The palette is varied with delicate contrasts. The birds-eye view of the scene
is quite appealing with the large tank dominating the foreground, suggesting an intimacy to the festivities behind
it where Krishna is the only male figure.
Catalogue no. 32 has a depiction of Krishna and Radha on a swing in the group of vignettes surrounding the
central grouping, the first one in the inner group at the top right. Jhulam Purnima also features in the top left of
the outer row of vignettes that depict each of the festivals celebrated for Shri Nathji himself throughout the year.
30 Published in: Sotheby’s Indian and Southeast Asian Art, New York, September 20, 2005, lot. 118.
13. Gopis adore Krishna and Radha on a Swing, The Festival of Jhulan Purnima
32 33
14. Radha and Krishna
From a Rasikapriya of Keshava Das series
Rajasthan, Amber, ca. 1680-1700
Folio 13 x 8 in, 33 x 20 cm
Painting 11 x 61/4 in, 28 x 16 cm translation of text below
Keshava Das (fl. 1580-1601) composed his popular Rasikapriya in 1591. It consists of a series of poems describ-
ing and cataloguing types of male and female lovers, nayakas and nayikas — heroes and heroines. Sets of paint-
ings illustrating verses from this text are found from many centers of art and a number from this particular group
are known.
Radha, the nayika, first discusses her absent lover with her confidant and then lies on the couch in despair and
longing. At the bottom she is reunited with her lover, the crowned Krishna. Radha appears three times suggesting
a continuous narrative. This is a common story-telling technique in Indian art, but here the story told is a succes-
sion of verses. The architecture is sumptuous and the decoration of the rooms elegant. The large floral forms in
the foreground at the right add a bold decorative touch.
The verse at the top can be translated as:
Savaiya [the name of the metre]

The cowmaids of yesterday manage the excitement that emerged in all your hearts today. Unnecessarily,
she wastes her time in thinking useless thoughts, brooding, and chanting the name of the beloved. Know
that in your absence, that Kanha [Krishna] whom you consider to be naughty, awaits your glimpse just as
you await his.
34 Appreciation is due for help on the translation to Sonal Acharya.
15. Krishna Spies on Radha from the Roof
Punjab Hills, Nurpur, ca. 1710
75/8 x 11 in, 19.5 x 28 cm uninscribed
The Rasamanjari, composed by the poet Bhanudatta around 1500, is illustrated in a series of paintings from
Nurpur around the time our painting was created. That text is concerned with the classification of lovers, usually
referred to as nayakas and nayikas — heroes and heroines. Catalogue no. 14 from a later series of poems by Ke-
shav Das also deals with these lovers. Much Indian love poetry concerns separated lovers, reveling in the pangs
of separation and longing. In this case Krishna stands in for the nayaka while Radha is the nayika.
Krishna watches Radha and her sakhis, friends, from above a door leading onto the terrace where the elaborate
pavilion stands. Radha holds a jewel-like golden flower while two ladies attend her and a third holds a camara
over her head. A fourth attendant crouches in the doorway leading onto the terrace. Radha is unaware of Krishna’s
gaze. Perhaps he is putting off showing himself so that he can hear her speak of her longing for him: their reunion
can be that much sweeter.
36 Published in: Sotheby’s, Fine Oriental Miniatures and Manuscripts, London 11 Dec 73, lot 340. 37
38
15. Krishna Spies on Radha from the Roof
16. Radha and Krishna
Rajasthan, Jodhpur, 19th century
111/2 x 93/8 in, 29.3 x 24 cm uninscribed
Krishna and Radha stand at a jharokha (balcony-like window) gazing longingly into each other’s eyes. A patterned
rug hangs over the balustrade of the balcony and a rolled piece of cloth above can be lowered to screen off the
window. Curiously lush vegetation seems to be growing in the room of the window, since the receding walls are
behind the plants. The whole is encircled by an oval with decorated corners and borders. Similar to a few other
paintings in the catalogue the artist has added what became a pan-Rajasthani element: the elongated eyes as-
40 sociated with the Kishangarh style typified by cat. nos. 13 and 22. 41
17. Krishna with Radha and Gopis on a Terrace, Madhumadhavi ragini?
Possibly Madhumadhavi ragini from a Ragamala series
Rajasthan, Jaipur, early 19th century
153/4 x 111/2 in, 39.5 x 29 cm uninscribed
It is possible that this uninscribed album leaf represents Madhumadhavi ragini, the way the figures point to the
lightening is essential to the usual depictions of this ragini. Peacocks are also a normal feature of Madhumadhavi.
The painting is organized with an elaborate terrace placed upon an equally elaborate basement story. The art-
ist suggests real depth, we can see well inside the entrance at its center. Krishna and Radha embrace in front
of a pavilion while two attendants hold morchals, peacock feathered flywhisks, and a third gestures towards the
lightening.
In a verse by Paida found on Amber ragamalas, the earlier capital of the rulers of Jaipur, the ragini is described
thus:
The woman is like Rati (Cupid’s wife), her eyes are (of the colour of) red lotus. The lower lips are (?) beauti-
ful and she has peerless speech. She has pure gold-like complexion and yellow dress. The sakhis (female
companions) adore her ways (?). the woman smiling kisses. She coils her arms around the neck of the
lover.
42 Text from Klaus Ebeling, Ragamala Painting, Basel: Ravi Kumar, 1973, p. 138.
18. Radha and Krishna, Sheltering from the Rain
Punjab Hills, Kangra, 19th century
83/8 x 53/4 in, 21 x 14.5 cm uninscribed
Radha and Krishna walk along a lotus-filled stream. The sky is filled with clouds of varying shades of gray and
lightening menacingly streaking across. The rain comes down in sheets. Placed against a plain grey background
flanked by trees, the two are sheltered and silhouetted under an umbrella. Krishna puts his arm around Radha
holding her close, while she lifts the hem of her ghaghra, skirt, to keep it from getting wet as they stride forward.
The landscape appears bleak but remarkably calm despite the fact that the storm has caused the lotuses and
their leaves to bend dramatically. The simple landscape with rolling powder-blue hills topped with pink give the
44 impression of remarkable calm to this tryst on a stormy night.
19. A Stormy Tryst, Krishna and Radha in Bed
Punjab Hills, Kangra, ca. 1800
Folio 105/8 x 81/8 in, 27 x 20.5 cm

Painting 8 x 51/4 in, 20 x 13.5 cm untranslated text on the back
Krishna and Radha are lying in bed on a stormy night. Nothing overtly sexual is shown, but Krishna does have his
hand on Radha’s naked breast. The impression given is of the aftermath of a sexual act, when the lovers gaze
out into the stormy night, streaked with lightening, evoking the intensity of their lovemaking. Radha gestures to
a bird peeking out from one of the pillars. The play of perspective with the colonnades of the pavilion at curious
angles, letting us see out into the dark skies, underscores the emotion of the scene as well. The perilous quality
of the weather is negated by the apparent calm of the couple. The hot orange of the coverlet and the bright red of
the bolster and some of the curtains add to the passion of the painting. There is a wonderful contrast between the
precise detailing of the lovers and their terrace with its stark white elements and the sketchy quality of the trees,
clouds, and lightening against the inky sky.
Although the source of the poem on the back has not been identified, it is probably from either the Rasikapriya or
Rasamanjari, as are cat. nos. 14, 15, and 20.
46 Provenance: Hugo Munsterberg

20. Krishna and Radha Making Love
From a Rasikapriya series,
Central India, Malwa, ca. 1640
75/8 x 67/8 in, 19.5 x 17.5 cm numbered 86 and six lines of undeciphered text on the back
This is from a very well known Rasikapriya set from the central Indian region called Malwa. Another painting from
a Rasikapriya series is seen in cat. no. 14. Malwa painting tended to be more conservative than similar styles from
neighboring Mewar in Rajasthan. The naturalizing influences from Mughal painting are entirely absent here. The
setting is typical with a pavilion to one side of the composition and an open vista to the other. Krishna makes love
to Radha while a sakhi, a friend of the heroine, stands guard outside the door. Humorously, a monkey faces the
sakhi and covers his head out of modesty.
The elaborate architecture with its geometric forms, which defy a clear reading in space, is also typical of the
painting from Malwa. The gargoyle-like head of a makara, a mythical animal that is a combination of elephant and
crocodile, holds a flag marking the pavilion as an important structure. A peacock primps himself standing on a
shelf that has no apparent support. Krishna is not necessarily part of the original poem; here Krishna is a stand-in
for the nayaka who is the hero of this poetic style. The bright colors add to the intensity of the scene, red being a
48 color logically associated with passion in Indian painting. 49
21. Krishna in a Boat, Ceta Masa
The month Ceta from a Barahmasa series
Rajasthan, Mewar, Udaipur, ca. 1780s
Folio 103/4 x 83/4 in, 27.5 x 22.3 cm

Painting 9 x 71/4 in, 23 x 18.5 cm numbered 1 and labeled Ceta
The simple word Ceta of the inscription at the top corresponds to the month Chait, identifying this as a painting
from a Barahmasa (twelve-month) series. The iconographies of the twelve months vary considerably from place
to place.
During the month of Chait, which falls in March-April, there is a festival of boats, and this painting suggests such
a festival on Lake Pichola in Udaipur. Krishna is seen in a boat either arriving at the lake palace or about to leave.
Radha is presumably the lady in the turret. A group of gopis, cow-maidens, greet him and one of them carries a
statue of a woman on her head. The statue could reflect taking images of Radha and Krishna for a pleasant boat
ride during the festival. This would suggest a living divine presence much like what we see in images of Shri Nathji
elsewhere in the catalogue.
Stylistically this painting offers a combination of styles: that of Mewar mixed with Bundi or Kotah. A number of
artists in Mewar and elsewhere throughout Rajasthan started to adapt stylized elements from other Rajasthani
centers during the 18th century and this painting is reminiscent of the work by an artist called Bhopa, who worked
in the late eighteenth century.
For a discussion of Bhopa see: Molly Emma Aitken, The Intelligence of Tradition in Rajput Court Painting, New
50 Haven: Yale University Press, pp. 228-29, fig. 5·16. 51
22. Krishna Watches Radha Perform Linga Puja: Bhairavi ragini?
Possibly Bhairavi ragini from a Ragamala series
Rajasthan, Kishangarh, ca. 1780
Folio 121/2 x 9 in, 31.5 x 23 cm

Painting 81/2 x 53/8 in, 21.5 x 13.5 cm uninscribed
Radha performs puja (worship) to a linga, the phallic representation of the god Shiva. She offers flowers, while
Krishna in a tree above the ritual object supplies her with a garland to decorate it. Below the figure of Krishna a
small vessel drips water onto the linga in a continuous abhishekha, lustration. The water then flows down from the
linga to the stream in the foreground. A lamp burns next to the linga and a small book with the word Shri (Lord)
written on it is next to the sacred object. Other ritual objects are in front of Radha. Behind Radha two yoginis,
female ascetics, are shown. One wears a garment made with patches of various materials appropriate for an
ascetic wanderer, very commonly seen in Ragamala paintings. The action takes place on a stormy moonlit night.
The worship of Shiva seems oddly inappropriate for this pair, but there is a common scene of another of Vishnu’s
incarnations, Rama, performing linga puja at Rameshvaram in southern India.
Similar to cat. no. 21 this painting displays a hybridization of styles, combining much Mughal detail with figures
of a classical Kishangarh style, typified here by Radha and Krishna. The mountain behind the scene is made up
of repeated elements that hark back to the art of Persia. This painting effectively creates an atmospheric mood
imbued with devotion and divine love.
Other examples of this Mughal-Kishangarh hybrid style are found in M.S. Randhawa and D. S. Randhawa , Kis-
hangarh Painting, Bombay: Vakils, Feffer and Simons Ltd., 1980, plates IV & V and the catalogue Indian Painting:
52 Mughal and Rajput and a Sultanate Manuscript, London: P & D Colnaghi & Co Ltd 1978, no. 74.
23. Battle Between Krishna and Nikumbha
From a Harivamsha series
Pumjab Hills, Kangra, ca. 1820
Painting 127/8 x 17 in, 32.5 x 43 cm inscribed with a number 37 on the reverse
Krishna, his son Pradyumna, and his friend Arjuna faught Nikumbha after the demon abducted the girl Bhanumati.
In a long and detailed account Pradyumna has saved her. The three then confront Nikumbha in battle. We see
Nikumbha and Krishna at various stages of the fight. Pradyumna has fallen over on his chariot and Arjuna riding
Krishna’s mythical mount Garuda also has been stunned. Both Krishna and Nikumbha are seen five times, creat-
ing a dynamic narrative; Nikumbha fights with a gada or mace and Krishna uses a mace and carries a bow. The
denouement is when Nikumbha strikes Krishna on the head and he falls to the ground. The god Indra, riding his
elephant Airavata in the clouds populated by all sorts of demi-gods, sprinkles fluid to revive Krishna.
This painting and cat. no. 24, which follows it in time, are from an important set illustrating the Harivamsha, an
addition to the Mahabharata that tells life stories of Krishna, his clan, vamsha, is known as Hari. It covers much
of the same territory as does the latter part of Book X of the Bhagavata Purana, but includes many exploits like
this one not found there.
Seeing Arjuna and Pradyumna becoming unconscious after being struck heavily, Govinda (Krishna, gada
is his mace) became highly angry and attacked Nikumbha. (36)
The elder brother of Gada (Krishna) took up his mace kaumodaki. Those valiant, difficult to conquer, roared
and attacked each other. (37)…
Like roaring bulls, trumpeting elephants and angry wolves, they attacked each other within the instance of
closing the eyelids. (42)
With a terrible roar, the valiant Nikumbha struck the elder brother of Gada (Krishna,) with his mace having
eight bells. (43)…
Then the entire world became distressed, O the lord of men … since the great soul, the son of Vasudeva
(Krishna) became unconscious. (46)
The lord of devas, Indra himself, sprinkled a mixture of nectar and the cold fragrant water of the divine
Ganga [the Ganges river] on Krishna. (47) …
Mahabharata, Harivamsha, Vishnu Parva 2. 90. 36-48.
This is taken from an English translation of Chapter 90 of the Harivamsha by Desiraju Hanumanta Rao, see online:
54 http://mahabharata-resources.org/harivamsa/vishnuparva/hv_2_090.html
56
23. Battle Between Krishna and Nikumbha
24. Krishna and Pradyumna Rescue Arjuna
From a Harivamsha series
Punjab Hills, Kangra, ca. 1820
Painting 127/8 x 17 in, 32.5 x 43 cm inscribed with a number 43 on the reverse
This event takes place just a little after the original fight between Krishna and Nikumbha seen in cat. no. 23. There
apparently were five intervening paintings in this series. Arjuna has been captured by Nikumbha. Nikumbha,
who had been granted the ability to duplicate himself into multiple forms, takes the dazed Arjuna up into the sky.
We see Arjuna five times: lifted into the air and then held by five of the Nikumbhas in the center as described in
the text. Krishna and his son Pradyumna attempt to save their friend by shooting arrows at the Nikumbhas float-
ing above. The artist has created a wonderful pattern with the repeated orange Nikumbhas riding on cotton-ball
clouds. The purple blood flowing like streamers from the demons adds a shimmering quality to the rather static
forms. Krishna on Garuda and his son Pradyumna in a chariot appear as twins, intently focused on their archery.
Thousands (of Nikumbhas) fought with Krishna, O the oppressor of enemies! …, thousands fought with the
son of Pritha (Arjuna [another name of Kunthi, his mother]) and thousands fought with the valiant son of
Rukmini. This was a wonder. (56)
Some of the great demons (Nikumbhas) held the bow of the Pandava (Arjuna), some others held his hand,
some other great demons held his feet. (57)
Holding the valiant (Arjuna) in this manner, they rose up in the sky. Then there were crores [a crore is ten
million] of sons of Pritha held this way. (58)
Neither Krishna nor the son of Krishna (Pradyumna), the destroyers of enemies, could see an end to this.
They cut off the Nikumbhas by shooting arrows, avoiding the son of Partha (Arjuna). (59)
O the one of Bharata race, Those split in two parts became one again. Lord Krishna who had divine knowl-
edge understood this. (60)
The slayer of Madhu (Krishna) realized the true form of Nikumbha, who created hundreds of illusions, the
one who took away the one, born under the star of Phalguni (Arjuna). (61)
Mahabharata, Harivamsha, Vishnu Parva 2. 90. 56-61.
This is taken from an English translation of Chapter 90 of the Harivamsha by Desiraju Hanumanta Rao, see online:
58 http://mahabharata-resources.org/harivamsa/vishnuparva/hv_2_090.html
60
24. Krishna and Pradyumna Rescue Arjuna
25. Vallabhacharya with Shri Nathji on Mount Govardhana
From a Shri Nathji series
Rajasthan, Nathadwara, ca. Early 19th century
This depicts Vallabhacharya’s first meeting with Shri Nathji. Arriving in Mathura in 1493, Vallabhacharya was told
tales about a cow feeding the god daily on Mount Govardhana. This is illustrated at the top left with the image
of the young Krishna still inside the mountain under the cow’s udders. Slowly the image manifested itself, finally
fully revealed only when Vallabhacarya was present. Krishna greeted Vallabhacharya, who then built a temple
to Krishna as the lord of Mount Govardhana. To the right we see the temple ready to receive Krishna. Groups of
devotees, members of the cult known as Pushtimarg, the Path of Grace, are seen in the middle ground. The town
of Brindavan (Vrindavan), one of Krishna’s childhood villages, is seen at the bottom of the painting. In 1670 the
image set up in that temple was moved to protect it from being destroyed and brought to Nathadwara, near the
city of Udaipur, the capital of Mewar in Rajasthan. Nathadwara remains a very important pilgrimage center.
Krishna had performed an important miracle of lifting Mount Govardhana to shelter the entire group of cow-herds
from a deluge sent by the god Indra, so the mountain was already quite auspicious. Depictions of this famous im-
age are seen in cat. nos. 27-31, 33, and 35. The pose is of Krishna in the process of lifting the mountain with his
left arm raised. The discovery of the image relates to an important concept in Hinduism of self-manifesting images
of the gods, known as swarupa. The mountain itself can serve as a manifestation of the lord as well.
62 Provenance: Waddington and Tooth Galleries, London

64
25. Vallabhacharya with Shri Nathji on Mount Govardhana
26. Shri Nathji, Representing the Festival of Gopashtami
Rajasthan, Nathadwara, 19th century
This painting can be compared to cat. no. 33, a Picchavai which also relates to the Festival of Gopashtami where
another form of Krishna stands above a bevy of cows. In this case the painting depicts the Shri Nathji image in
front of a cloth hanging, another picchavai. These cloth hangings often were placed behind an image to create the
frame associated with the many festivals celebrated for the god. At the bottom, at Shri Nathji’s feet, are a number
of auspicious objects. These are a banta (snack box filled with sweets — laddus), pan-bida (a pair of folded betel
leaves) and a jhari (decorated water jug) filled with Yamuna water (the Yamuna is associated with the region of
Krishna’s formative years). One must recall that the self-manifested image of Shri Nathji is treated as a living
person, so these are necessary treats for him. These items are common to even the simplest of paintings of the
image.
Although the sculpture is placed in a haveli, a house-like setting rather than a temple proper, the icon acts as the
principal focus of devotion. The image wears clothes that are constantly changed to correspond to times of the
day and of the religious calendar. Here he wears a flared skirt, scarves and lotus garlands and sports a cow-herd’s
cap surmounted by the moracandrika, a peacock crest on the headdress. The image is treated as a living pres-
ence of the god, tied to narratives of his life.
By keeping the image in the gesture of lifting Mt. Govardhana or in the pose of the young cow-herd playing the
flute, the living narrative is never far from the minds of the devotees. Other paintings in this catalogue underline
this quality by depicting actual exploits of Krishna, particularly ones that have to do with his boyhood. Shri Nathji
66 is after all a small child and not the fully grown romancer and hero seen elsewhere in the catalogue.
27. The Worship of Shri Nathji
Rajasthan, Nathadwara, 1829
131/4 x 93/4 in, 33.5 x 25 cm numbered 5 and dated VS 1885 on the back
Catalogue nos. 27-30 are from a set of paintings related to the eight daily darshanas or rituals associated with the
Pushtimarg sect at Nathadwara. The texts accompanying them are numbered, but the actual events depicted do
not suggest a strict chronological order for the life of Krishna or even a strict sequence of the darshanas as they
take place during the day.
The eight darshanas are:

Mangala, waking up the image; Shringara, decorating or dressing the image; Gvala, Krishna leading the
cows out to graze; Rajbhoga, the midday meal; Utthapana, awakening the image after a three hour nap;
Bhoga, the afternoon meal; Sandhya Arati, returning at twilight with the cows; and Shayana, going to sleep.
Perhaps this painting is associated with the first of these rituals, awakening the image with music in the two lower
registers and also worshipping him with a performance of arati. Shri Nathji, wearing a fanned out kachani, the full
skirt associated with images of Krishna dancing, greets the devotees. The costume is identical to that of cat. no.
26 and includes a long scarf, the dupatta blowing out in the wind. The figures directly next to Shri Nathji against
the blue ground probably are actually a picchavai behind the figure. To his left we see his step-parents which may
suggest the child’s birthday celebration known as Janmashtami. Another possibility is Nandamahotsava, a festival
68 celebrated by Nanda, his step-father.
28. Shri Nathji Scenes
93/4 x 133/8 in, 25 x 34 cm numbered 7 and dated VS 1885 on the back
It is clear from the numbering of the headings on these paintings from the same set (cat. nos. 27-30) that the or-
der does not follow the daily rituals. The many verses attached to the folios appear to relate stories of the scenes
depicted in paintings themselves, but are primarily of a devotional nature. Here Krishna is older than in the scenes
depicted in cat. nos. 29 and 30. First Shri Nathji is worshipped at the left. The image is backed by a picchavai re-
lating to that of Gopashtami, the festival of cows seen elsewhere in the catalogue. At the right, he herds the cows
with his brother Balarama and his friends the other gopas, cow-herds. He is also seen fluting on a small mound,
Mount Govardhana. At the bottom right gopis, cow-maidens, come to greet their beloved friend. This implies either
the third darshana of the day, Gvala, when he takes the cows out to graze or the seventh, Sandhya Art, when he
returns.
Shri Nathji is dressed as in the last painting, but without the lotus bud for the image in the temple. The gopis are
gaily dressed in skirts, ghaghras, and head scarves, odhnis, while the gopas are in plain dhotis. Curiously they all
70 wear crowns on their heads belying their rustic status.
93/4 x 131/8 in, 24.5 x 33.5 cm numbered 11 on the back
Probably representing the second darshana of the day, Shringara, The painting is packed with incident. The fig-
ures of Krishna and his brother Balarama are repeated often, lying as infants on their charpois or cots along with
other childhood scenes. The traditions surrounding these daily celebrations for Shri Nathji include many familiar
domestic activities. We see Krishna with his step-mother Yadhoda in several registers. Rohini, the birth-mother
of Balarama, is also seen and takes part in the daily ritual of life with the cow-herds. The older boys are wrestling
and perhaps Krishna is learning to walk at center top. We also see the shrine of Shri Nathji three times. The image
is dressed for the summer, the hot weather requires very little clothing and he merely wears malla kacha, muslin
72 shorts. Catalogue no. 30 appears to take the story of his life a bit further with him doing more grown up activities.
75
95/8 x 131/4 in, 24.5 x 33.5 cm numbered 10 on the back
This appears to be a combination of darshanas, possibly a painting that includes most if not all of the day’s rituals.
Shri Nathji at the top right is dressed in adbandha, a dhoti that is then thrown over the shoulder, for summer. He
may have just been awakened, Mangala darshana. The next Rajbhoga darshana, the midday meal, is prepared
right below the shrine. We also see Shri Nathji with cows in various configurations. For Gvala darshana he brings
the cows out to graze, but he also seems to be returning with them and putting them into their pens, Sandhya Arati
darshana. He even milks a cow in the center of the composition. Perhaps the figure of him with four arms is when
he is given a flute to play before he goes to sleep. His form with four arms conforms to his true godhood, which is
markedly different from the two armed versions seen elsewhere in this catalogue. At the top left he is seated at the
76 open door of the Singh Pol, leading to the room in the haveli at Nathadwara where Shri Nathji sleeps. 77
31. A Priest of Shri Nathji
Rajasthan, Nathadwara, ca. early 19th century
91/2 x 61/4 in, 24 x 16 cm uninscribed
A priest presumably from the temple at Nathadwara is shown seated in prayer on a carpet leaning against a
bolster. His right hand is in a prayer sock (gomukhi) and he is probably keeping track of his prayers by count-
ing beads. Although the overall effect is one of quiet asceticism, he is adorned with a great deal of elaborate
jewelry, underlining the great wealth of the religious center. He wears rings, bracelets and armlets and luxurious
necklaces. His ear ornament is a wonderful echo of the overall roundness of the forms. His dhoti fans out in an
elaborate fashion. The cusped arch consisting of decorated marble adds even more to the sumptuous quality of
this sensitive portrait.
The gomukhi can be compared to one below the female devotee in cat. no. 34 where it actually takes the shape
of a cow’s head, the meaning of the term.
78 Provenance: Peter Cochrane, London

32. Picchavai for the Festival of Annakuta (the Mountain of Food) Sapta Swarupa Annakutotsava
Rajasthan, Nathadwara, 19th century
Ink, opaque watercolor, and gold on cotton
92 x 96 in, 233 x 243 cm specific festivals are labeled
The main image of Shri Nathji and other statues of Krishna are depicted on the altar of the temple at Nathadwara,
one of the most vital living temples in northern India. A huge pile of rice representing Mount Govardhana and ves-
sels full of food are placed below the images while two of the main priests of the temple flank the images at their
level. The one on the left holds a lamp and performs a ritual called arati. Male devotees are arranged below the Annakuta is celebrated at the time of Diwali, in the autumn. The inside row of twenty-four vignettes offer depictions
priests with women at the bottom, all with their heads covered. At the very bottom cows decorated with auspicious of scenes from the life of Krishna including his subjugation of the snake Kaliya at the beginning of the sequence
handprints and cow-herds create a decorative band. Four of the most powerful gods in their celestial vehicles to the left, corresponding to cat. no. 5. A number of others suggest his amorous dalliances and life as a cow-herd.
hover in the sky above the temple roof: Indra, Vishnu, Brahma, and Shiva. The main image itself relates to an important scene during Krishna’s life, his arm is raised in the form of lifting
Mount Govardhana to protect the cow-herds and cows from a torrential downpour. Annakuta commemorates that
The small vignettes that encircle this picchavai serve dual purposes; the twenty-six on the outside (all labeled) event with the mound of rice symbolizing the mountain.
depict first an important saint, followed by Shri Nathji in each of the twenty-four festivals (utsavas) during the year,
ending with another important saint, the one who first discovered the self-manifest image of Shri Nathji, an event Swarupas, self-manifested images of the god Krishna associated with the Pustimarg sect, are arranged below the
seen in cat. no. 25. These twenty-four festivals are performed in accordance to the phases of the moon throughout main cult figure. All of these images are believed to be the god himself and also require constant attention from
the year, so festival days are always only a few weeks apart. Shri Nathji’s costume and the rituals vary depending the devout. Unlike other depictions of Shri Nathji in the catalogue, he wears a crown called gokarna mukta in the
80 on the festivals being celebrated. shape of cow’s ears. 81
32. Picchavai for the Festival of Annakuta (the Mountain of Food) Sapta Swarupa Annakutotsava
33. Picchavai depicting Venugopala the Festival of Gopashtami
Rajasthan, Kishangarh. 19th century
Ink, opaque watercolor, and gold on cotton
66 x 58 in, 167 x 147 cm uninscribed
Although associated with the Pustimarg sect, the main object of devotion in this picchavai is not Shri Nathji. This
represents the festival of Gopashtami celebrating the graduation of Krishna from a herd-boy who took care of
calves to a full fledged, mature cow-herder. As seen in cat. no. 32 a number of self-manifested images of Krishna
are in the pose of Venugopala. An especially important figure is known as Gokulacandramaji, the moon of Gokul
where he grew up. All of these figures are in a tribhanga (three bended) pose and have their legs crossed and
do not stand rigidly in samabhanga (no bend) firmly on the ground as does this Krishna. Venugopala is quite
rigid here, while he is in a more relaxed pose with his feet crossed in the Jaipur and Mysore examples, cat. nos, Where one can envision the picchavai seen in catalogue 32 as being used to back the image of Shri Nathji, this
6 and 7. In a narrative context, Krishna playing a flute is seen standing flat on his two feet atop a mound (Mount appears to stand alone as an object of worship. It displays a rather formal symmetry with the figure of Krishna
Govardhana) in cat. no. 28. Here Krishna’s costume bears much in common with the figures of Shri Nathji in the under a mustachioed moon, relating to his title, and trees of various types are nearly mirror images. The elegant,
catalogue, especially cat. no. 32. The objects at his feet also relate to the objects at Shri Nathji’s feet suggesting wasp-waisted gopis dressed in skirts (ghaghras), tight bodices (colis), and diaphanous head coverings (odhnis)
his placement within a temple setting. The overall effect with the lush vegetation and the lively diminutive cows to each side sport the sinuous eyes that are the earmark of Kishangarh. These eyes were adopted at many other
84 above a dancing lotus-filled stream is particularly appealing. Rajasthani centers as artists of other regional styles came into contact with the art of Kishangarh. 85
33. Picchavai depicting Venugopala the Festival of Gopashtami
87
86
34. The Worship of Shri Sakal Guvani Dhyan Lal Ji (Shri Nathji)
Rajasthan or Gujarat, early 19th century
11 x 135/8 in, 28 x 34.5 cm inscribed
This painting underscores the wide distribution of the Shri Nathji cult. Rather than strictly follow the conventions
of the Nathadwara style, it is merely a reference to that center. The figure of Shri Nathji is copied rather faithfully,
but the river Yamuna (labeled as Jaumna Rani Ji) standing beside him is very different from the usual depictions
of the river goddess from Nathadwara itself where she usually stands sideways and holds up a garland and some
lotus blossoms. Shri Nathji and Yamuna are identified by titles not found at Nathadwara.
The Gujarati inscription (written in Devanagari script) identifies the devotees as the unmarried Maharaja Daulat
Ramji and his sister Shri Bayiji. Each sit in prayer with downcast eyes and are surrounded by accoutrements of The central section of the painting could easily be a picchavai hanging between the two arched spaces which
worship: spouted vessels filled with holy water on little stands, peacock fans, underarm supports, various objects frame the two devotees. The figure below Shri Nathji is Navanitapriyaji, a statue of Kirshna holding a butter ball.
on a low table with some texts, and in the case of the sister, an elaborate gomukhi, prayer sock, which actually This swarupa Krishna is housed near the chamber of the main icon in the haveli at Nathadwara. Shri Nathji wears
takes the shape of a cow’s head, the meaning of the term. It can be compared to the plainer one seen in cat. no. a wrestler’s lower garment and a tipara (a cow-herds’ cap) on his head. The repetition of the two cows flanking the
88 34. two images is particularly felicitous. 89
90
34. The Worship of Shri Sakal Guvani Dhyan Lal Ji (Shri Nathji)
35. A Ruler Adoring Brijnathji
Rajasthan, Kotah, ca. 1780
Ink, opaque watercolor and gold on paper
Folio 121/2 x 95/8 in, 31 x 24.5 cm

Painting 101/4 x 71/2 in, 26 x 19 cm uninscribed
Brijnathji, a small image of Krishna, appears on a small throne along with his love Radha. The image was given
to Maharao Bhim Singh of Kotah (r. 1707-20) when he became a follower of the Vallabha Sampraday, the Push-
timarg sect. He installed the image in the palace and since 1717 it is regarded as the tutelary divinity of the state.
This image is in essence the actual ruler of the Kotah. Here the ruler holding the peacock morchal must be Durjan
Salji of Kotah (reigned 1723-56), although he is usually shown with pock marks on his face. He is accompanied
in worship by a woman holding a camara, yak-tail fly-whisk, and another noble. Female musicians — one playing
the pakhawaj drum, another the stringed tambura, and two ladies with cymbals — and a dancer entertain the god.
The religious practices conducted in the Kotah royal palace is discussed by Woodman Taylor in Gods, Kings, and
92 Tigers: the Art of Kotah, Stuart Cary Welch, ed., New York: Prestel, 1997, pp. 61-72.
36. Maharana Sarup Singh Worships Jagannatha Rai
Rajasthan, Udaipur, 1840-50s
An important temple in the capital city of Udaipur is the Jagdish Mandir, which is dedicated to a Krishna image
called Jagannatha Rai (Lord of the World). Maharana Jagat Singh I built the temple and it was completed in 1651.
Here Maharana Sarup Singh (reigned 1842-61) worships this important icon. The sculpture is most likely related
directly to the Charbhuja image set up in 1444 during the reign of Maharana Kumbha (1433-1468) in a temple in
Garhbor village north of Udaipur. Although not seen in this heavily dressed sculpture, these images depict Krishna
with four arms, carrying the usual weapons associated with Vishnu. Unlike Shri Nathji, they transcend narrative
and function more as representations of the god Vishnu.
The festival being celebrated is Dussehra, a celebration of good over evil. Many images are dressed for that oc-
casion with shields and swords and other weapons, so that the god can combat evil. This is even done for the Shri
Nathji image at Nathadwara. Where Shri Nathji is worshipped widely, this sculpture of Jagannatha Rai is more
localized and is an auspicious, potent image for the Mewar ruling family. A number of paintings featuring other
Maharanas worshiping this sculpture are known.
For a painting of Shri Nathji depicted with weapons for Dussehra, see Joachim K. Bautze, “Time of the Maharajas
as Reflected in Indian Painting from Kota,” in Figurations of Time in Asia: Morphomata, vol. 4, Dietrich Borschung
and Corinna Wessels-Mevissen, eds., Munich: Wilhelm Fink Verlag and Cologne: the Internationales Kolleg Mor-
94 phomata, University of Köln, 2012, plate 15.
Index 22. Krishna Watches Radha Perform Linga Puja: Bhairavi ragini? p. 52
Possibly Bhairavi ragini from a Ragamala series; Rajasthan, Kishangarh, ca. 1780; Ink, opaque watercolor, and gold on paper
23. Battle Between Krishna and Nikumbha p. 54

1. Markandeya’s Vision p. 06 From a Harivamsha series; Pumjab Hills, Kangra, ca. 1820; Ink, opaque watercolor, and gold on paper
Page from an artist’s sketch-book; Karnataka, Mysore, mid-19th century; Ink and color wash on paper
24. Krishna and Pradyumna Rescue Arjuna p. 58
2. Yashoda with Krishna in her Arms p. 08 From a Harivamsha series; Punjab Hills, Kangra, ca. 1820; Ink, opaque watercolor, and gold on paper
Page from an artist’s sketch-book; Karnataka, Mysore, mid-19 century; Ink and color wash on paper
th
25. Vallabhacharya with Shri Nathji on Mount Govardhana p. 62

3. Krishna and Balarama with Yashoda and Nanda p. 10 From a Shri Nathji series; Rajasthan, Nathadwara, ca. Early 19th century; Ink, opaque watercolor, and gold on paper
From a Sur Sagar series; Rajasthan, Mewar, ca. 1680-1700; Ink, opaque watercolor, and gold on paper
26. Shri Nathji, Representing the Festival of Gopashtami p. 66
4. Krishna Tied to the Mortar, Damodara p. 12 Rajasthan, Nathadwara, early 19th century; Ink, opaque watercolor, and gold on paper
From a Bhagavata Purana series; Rajasthan, Mewar, ca. 1690; Ink, opaque watercolor, and gold on paper
27. The Worship of Shri Nathji p. 68
5. Krishna Quelling Kaliya, Kaliyamardana p. 14 From a Shri Nathji series; Rajasthan, Nathadwara, 1829; Ink, opaque watercolor, and gold on paper
28. Shri Nathji Scenes p. 70
6. Krishna Fluting, Venugopala p. 16 From a Shri Nathji series; Rajasthan, Nathadwara, 1829; Ink, opaque watercolor, and gold on paper
Central India, Madhya Pradesh, Datia, ca. 1760; Ink, opaque watercolor, gold, pearls, and semi-precious stones on paper
7. Krishna Fluting, Venugopala p. 18 From a Shri Nathji series; Rajasthan, Nathadwara, 1829; Ink, opaque watercolor, and gold on paper
8. Krishna with the Gopis Under a Tree, Dan-lila p. 20 From a Shri Nathji series; Rajasthan, Nathadwara, 1829; Ink, opaque watercolor, and gold on paper
Rajasthan, Kotah, ca. 1760; Ink, opaque watercolor, and gold on paper
31. A Priest of Shri Nathji p. 78
9. The Toll of Curds, Dan-Lila p. 22 Rajasthan, Nathadwara, ca. early 19th century; Ink, opaque watercolor, and gold on paper
Rajasthan, Bikaner, 18th century; Ink on paper
32. Picchavai for the Festival of Annakuta (the Mountain of Food) Sapta Swarupa Annakutotsava p. 80
10. Radha Adorns Krishna with a Tilak p. 24 Rajasthan, Nathadwara, 19th century; Ink, opaque watercolor, and gold on cotton
Rajasthan, Bundi, ca. 1750; Ink, opaque watercolor, and gold (silver or tin?) on paper
33. Picchavai depicting Venugopala the Festival of Gopashtami p. 84
11. Krishna Dancing with Gopis, Vasanta ragini p. 26 Rajasthan, Kishangarh. 19th century; Ink, opaque watercolor, and gold on cotton
Vasanta ragini from a Ragamala series, ascribed to Ibrahim; Rajasthan, Bikaner, ca. early 1690s; Ink, opaque watercolor,
and gold on paper 34. The Worship of Shri Sakal Guvani Dhyan Lal Ji (Shri Nathji) p. 88
Rajasthan or Gujarat, early 19th century; Ink, opaque watercolor, and gold on paper
12. Krishna Dancing with the Gopis, Megha ragini? p. 28
Possibly Megha ragini from a Ragamala series; Bengal, Murshidabad, ca. 1790; Ink, watercolor, and gold on paper 35. A Ruler Adoring Brijnathji p. 92
Rajasthan, Kotah, ca. 1780; Ink, opaque watercolor and gold on paper
13. Gopis adore Krishna and Radha on a Swing, The Festival of Jhulan Purnima p. 30
Rajasthan, Kishangarh, ca.1725-50; Ink and opaque watercolor, on paper 36. Maharana Sarup Singh Worships Jagannatha Rai p. 94
Rajasthan, Udaipur, 1840-50s; Ink, opaque watercolor, and gold on paper
14. Radha and Krishna p. 34
From a Rasikapriya of Keshava Das series; Rajasthan, Amber, ca. 1680-1700; Ink, opaque watercolor, and gold on paper
15. Krishna Spies on Radha from the Roof p. 36

Punjab Hills, Nurpur, ca. 1710; Ink, opaque watercolor, and gold on paper
16. Radha and Krishna p. 40

Rajasthan, Jodhpur, 19th century; Ink, opaque watercolor, and gold on paper
17. Krishna with Radha and Gopis on a Terrace, Madhumadhavi ragini? p. 42

Possibly Madhumadhavi ragini from a Ragamala series; Rajasthan, Jaipur, early 19th century; Ink, opaque watercolor,
and gold on paper
18. Radha and Krishna, Sheltering from the Rain p. 44

Punjab Hills, Kangra, 19th century; Ink, opaque watercolor, and gold on paper
Krishna
19. A Stormy Tryst, Krishna and Radha in Bed
Punjab Hills, Kangra, ca. 1800; Ink, opaque watercolor, and gold on paper
p. 46
Indian Miniature Paintings
20. Krishna and Radha Making Love p. 48 from the 17th through the 19th century
From a Rasikapriya series; Central India, Malwa, ca. 1640; Ink, opaque watercolor, and gold on paper
21. Krishna in a Boat, Ceta Masa p. 50

The month Ceta from a Barahmasa series; Rajasthan, Mewar, Udaipur, ca. 1780s; Ink, opaque watercolor, Art Passages, San Francisco, California, USA
94 and gold on paper 1-415-690-9077, info@artpassages.com, www.artpassages.com 95

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Art Passages

Catalogued by Robert J. Del Bontà

Art Passages, San Francisco, California, USA

Designed by Shapour Ghasemi

81/8 x 61/2 in, 20.5 x 16.5 cm uninscribed

2. Yashoda with Krishna in her Arms

81/8 x 61/2 in, 20.5 x 16.5 cm uninscribed

08 The reverse side of the drawing depicts a parrot on an elaborate pedestal.

133/4 x 91/2 in, 35 x 24 cm

10 x 81/8 in, 25.5 x 20.5 cm

12 Appreciation is due for help reading the verse to Sonal Acharya.

5. Krishna Quelling Kaliya, Kaliyamardana

81/8 x 61/2 in, 20.5 x 16.5 cm uninscribed

14 This story is told in the Bhagavata Purana. X. 16.

113/4 x 87/8 in, 29.8 x 22.5 cm uninscribed

7. Krishna Fluting, Venugopala

81/8 x 61/2 in, 20.5 x 16.5 cm uninscribed

113/8 x 81/4 in, 29 x 21 cm uninscribed

Its time is two hours after sunrise.

Folio 101/2 x 71/2 in, 26.5 x 19 cm

6 x 47/8 in, 15.5 x 12.5 cm inscribed on the back

9 x 61/2 in, 23 x 16.5 cm uninscribed

53/8 x 111/4 in, 13.8 x 28.5 cm uninscribed

The verse at the top can be translated as:

Savaiya [the name of the metre]

75/8 x 11 in, 19.5 x 28 cm uninscribed

111/2 x 93/8 in, 29.3 x 24 cm uninscribed

153/4 x 111/2 in, 39.5 x 29 cm uninscribed

83/8 x 53/4 in, 21 x 14.5 cm uninscribed

Folio 105/8 x 81/8 in, 27 x 20.5 cm

46 Provenance: Hugo Munsterberg

Folio 103/4 x 83/4 in, 27.5 x 22.3 cm

Folio 121/2 x 9 in, 31.5 x 23 cm

Painting 127/8 x 17 in, 32.5 x 43 cm inscribed with a number 37 on the reverse

Painting 127/8 x 17 in, 32.5 x 43 cm inscribed with a number 43 on the reverse

91/8 x 115/8 in, 23 x 29.5 cm uninscribed

62 Provenance: Waddington and Tooth Galleries, London

191/4 x 141/4 in, 49 x 36.5 cm uninscribed

The eight darshanas are:

93/4 x 133/8 in, 25 x 34 cm numbered 7 and dated VS 1885 on the back

93/4 x 131/8 in, 24.5 x 33.5 cm numbered 11 on the back

95/8 x 131/4 in, 24.5 x 33.5 cm numbered 10 on the back

91/2 x 61/4 in, 24 x 16 cm uninscribed

78 Provenance: Peter Cochrane, London

92 x 96 in, 233 x 243 cm specific festivals are labeled

66 x 58 in, 167 x 147 cm uninscribed

11 x 135/8 in, 28 x 34.5 cm inscribed

Folio 121/2 x 95/8 in, 31 x 24.5 cm

141/8 x 107/8 in, 36 x 27.5 cm uninscribed

23. Battle Between Krishna and Nikumbha p. 54

25. Vallabhacharya with Shri Nathji on Mount Govardhana p. 62

15. Krishna Spies on Radha from the Roof p. 36

16. Radha and Krishna p. 40

17. Krishna with Radha and Gopis on a Terrace, Madhumadhavi ragini? p. 42

18. Radha and Krishna, Sheltering from the Rain p. 44

21. Krishna in a Boat, Ceta Masa p. 50

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