Ishita Gupta

Professor Yashaswini Chandra

Indian and Himalayan Art
23rd April 2019

Assignment 2

Name: Radha and Krishna on a bed of plantain leaves in grove

Period: Late Kangra style, Pahari paintings
Artists: Nainsukh Family
Collection: Museum of Fine Arts, Boston
Materials and Technique:Opaque watercolour with gold on paper

The painting belongs to a scene from Jayadeva’s Gita Govinda. In the Gita Govinda, Jayadeva celebrates
the love-play of Radha and Krishna using compact verses (Goswamy and Fischer, 2009). The artist
through his/her painting tried to showcase the description provided by Jayadeva. In Jayadeva’s
compositions,the background of the romantic tales of Krishna-Radha is usually near Yamuna, i.e, “eager
for the art of his love on the Yamuna river bank” (Goswamy and Fischer, 2009). Therefore, in this
painting Krishna and Radha are seated in the middle of a fragrant grove forest next to the Yamuna, far
away from the city. The couple is placed within trees and are the central focus of the composition.
Besides being in a forest there are no animals or birds. This was possibly done to give privacy to the
lovers and make them the central focus. Moreover, the artist has placed them on a carpet made out of
leaves, possibly from the nearby trees. The artist has imagined them to have an intimate moment with
Krishna decorating Radha with flowers. Krishna can be seen facing Radha’s head as he is putting a
flowers in her hair. The white flower used by Krishna is similar to the flowers falling from above as
showcased in the painting.

Krishna, as primarily described by Jayadeva, is blue and dressed in a fine silk yellow cloth and has been
painted according to the description (Goswamy and Fischer, 2009). He is wearing a three pointed crown,
ornaments and a long white garland which is very typical of Pahari style. Radha, on the other hand, is
dressed in a red jama with a light pink choli that ends right below her breasts and a yellow muslin cloth
which is covering her hair. Radha’s dupatta scarf is draped over her head in conventional Pahari style
with the end piece hanging of the shoulder. She is sitting comfortably cross legged in Krishna’s embrace
and is holding a pink flower in her left hand which is resting on her right knee and her right hand is in a
mudra. Her jewellery, like the pasa, highlights the influence of Islamic culture in Pahari paintings. She is
wearing jewellery made of white flower, which possibly Krishna has made for her. Her head is little tilted
towards the bottom, due to which we can argue that she is feeling a little shy and seem to be cherishing
the moment.

Moreover, great attention is given to the dresses of the figures as the artists has tried to showcase folds
and pleats (Goswamy and Fischer, 2009). The figures of the lovers are also created in characteristic
Pahari style, lean, tender and elongated bodies. Their faces are rounded, sharp features, closed mouths,
their nose starting from the end of their forehead, long elongated big eyes and very thin eyebrows.
Radha’s hair are open and are hide behind the dupatta scarf, whereas Krishna’s hair are curly and each
strand of his hair is carefully painted (Goswamy and Fischer, 2009).

There is a river flowing besides them which is most likely to be Yamuna. A mirror is kept besides Radha
which she would or has used to see herself after Krishna has finished dressing her with flowers. The trees
in the background enhance the beauty of the Radha and Krishna’s love (Goswamy and Fischer, 2009).
Additionally, the simplicity of the background also helps to reiterate focus to the main figures (Krishna
and Radha) in the foreground. The composition of the painting; couple sitting in the forest away from the
hustle in privacy, along with its subject matter sets a romantic mood. Hence, it can be argued that this
painting captures the main element of Indian paintings, “Bhaav.”

The painting has an oval border which is a characteristic of the later schools of Kangra style (Goswamy
and Fischer, 2009). Additionally, another distinct feature of Pahari school, is the treatment of the flora
and fauna. The artist has also beautifully painted each leaf of the trees along with the blossoming pink
flower. It is possible that the blossoming pink flower symbolises the blossoming love of Radha and
Krishna.

Hence, the painting with its soft palette, simple representation of Krishna-Radha’s love tales and intricate
representation of the flora and fauna showcases the features of late Kangra style. Further, it can be argued
that in this painting we can see the intermixture of Nainsukh’s “lyrical naturalism” and Manaku’s
sharpness and poetic inventiveness (Mitter, 2001). The colour palette used is soft and the composition of
the figures is lean and soft which is typical of Nainsukh’s style. Additionally, the three-pointed crown,
jewellery, use of Gita-Govinda as subject matter can be attributed to the influence of Manaku. Therefore,
this painting produced by their future generation is an amalgamation of their different styles.

Name: Jahangir at the jharokha window of the Agra Fort, Folio from Jahangir-Namah (MEMOIRS OF
JAHANGIR)
Period: Jahangir Period (1620)
Collection: Aga Khan Museum, Toronto
Materials and Technique: Opaque watercolour, gold, paper

The painting depicts a scene from the Jahangir Nama, in which Jahangir is giving jharokha darshan from
the Agra Fort. The ritual is called Darshana, a Sanskrit term meaning the “exchange of vision with the
temple deities” (Branfoot, 2018). Hence, this practice of giving jharokha darshan was important for
Mughal rulers as it gave them the platform to see their subjects and for the subjects to see their ruler. This
also helped to reiterate his legitimacy as a ruler, especially among the Hindu majority as Hindu gods
practised this ritual of giving jharokha darshan to their followers. The custom was started by Akbar and
was religiously followed by Jahangir and Shah Jahan (Branfoot, 2018). The ritual of providing jharokha
darshan generally took place during sunrise, hence, the artist decided to paint the sky as darker blue.
Abu’l Fazl wrote that “ordinary people would gather outside the palace whether in Fatehpur, Agra, or
Lahore, waiting until dawn when the emperor would rise and appear to them in a formal darshan or
‘view’ from the jharoka” (Stronge, 2010) .
Like other court paintings, especially, Mughal court paintings, in this folio too, the king is the central
focus. He is seated at special projecting balcony in the outer wall of the palace (Jharokha-i-Darshan),
under a golden chattri, which is placed at the terrace of the Agra fort (Branfoot, 2018). The chattri, a
Hindu element, was important for Mughal rulers as it was placed above Hindu deities, therefore, it helped
them to connect with their Hindu population and legitimize their positions. Jahangir is painted in profile
in the painting probably because he believed it signifies grandeur (Kocch, 2018). Typical of a jharokha
darshan painting, there is carpet like draped cloth under the emperor’s hand and a rolled-up chik (Singh,
2016). The window frame of the jharokha window also looks like a picture border.

There are more male faces on either sides of Jahangir which may be the princes accompanying him for
the ritual. The artist in order to showcase their faces and give an impression of them being behind the jali
has painted some parts of the jali instead of painting the whole jali. This helps to create an impression that
the princes are looking at the king from behind the jalis. Interestingly, Jahangir is painted without a halo.
Kavita Singh (2016), argues that Jahangir did not have a halo painted in intimate and private settings,
hence, one could argue that this particular day of giving darshan might hold a special value for Jahangir.

In his book, Crispin Branfoot (2018), argues that Mughal rulers, Akbar, Jahangir, and Shah Jahan,
focused on documenting elaborate court scenes which included notable and individualized couturiers.
Similarly, this painting captures the magnificent court of the emperor. The courtiers and subjects of
Jahangir’s court are standing below, outside the palace, and looking upwards towards their ruler. This
helps to reiterate the focus importance towards the main figure of the painting, the emperor. There is a
row of courtiers standing on a white raised platform segregated by a red railing. There is another row of
courtiers standing below them, on a raised white platform slightly lower than the previous one. Similarly,
there is a third row of courtiers on a white platform lower than the previous two. This showcases the
hierarchy of the Mughal court, the closer they are to the ruler, the higher they stand in rank (Branfoot,
2018). Additionally, the paintings of the courtiers are highly individualised and can be identified by their
names which are written on their jamas.

At the bottom of the palace, the artist has painted the subjects and some courtiers who have some to see
their ruler. The crowd is divided into two halves: right and left, and the central line is empty. The crowd
on both sides is multicultural, for example, there is a European man (the father) standing in the left,
Central Asians couturiers on the right and a Persian man on the right bottom corner. Interestingly, some
faces of the subjects or courtiers are painted in 3/4 profile. Kocch (2018) argues, “this was done to
separate the emperor and his closest nobles from those of low or no rank, those out of favour at court or
visiting foreigners, such as Jesuit missionaries or English Diplomats.” The presence of the European men
in the scene showcases the influx of European goods and people during Jahangir’s regime. Jahangir, was
particularly fascinated by the European culture, hence, we also see the European bells hanging on the
walls of the fort. The bells could be rung by anyone to ask the ruler for justice. There is an elephant
present at the leftmost corner of the painting, who like the courtiers and subjects, is looking towards the
ruler. One could argue it symbolises that the emperor rules over the entire earth, including the animal
kingdom. It also highlights the grand entourage of the ruler. What is intriguing for me is a old man who is
placed in a dark room in the center of the image. It seems like he writing or painting something but it is
hard to exactly identify. The old man is inside the castle in a dark room while everyone is looking at the
emperor which is different from the other court paintings of the Mughal.

Hence, the painting capture an important aspect of Jahangir’s daily life and highlights the grandness of
the Mughal court. Further, the painting is composed according to typical Mughal painting style: grand
court scenes, individualized courtiers, focus on the emperor, and use of persian blue. Also, the painting is
an amalgamation of not just Hindu and Islamic elements but also Persian and European elements.
Therefore, it perfectly captures the eclectic nature of the Mughals and their multicultural and diverse
courts.
 Bibliography

Branfoot, C (2018). ‘Introduction: Portraiture in South Asia’. Portraiture in South Asia since the Mughals.
I.B. Tauris.

Jahangir jharoka window Agra Fort folio Jahangirnameh memoirs Jahangir. Aga Khan Museum.
Retrieved from https://agakhanmuseum.org/collection/artifact/jahangir-jharoka-window-agra-fort-folio-
jahangirnameh-memoirs-jahangir-akm136

Koch, E (2018). ‘Jahangir as Publius Scipio Maior: The Commensurability of Mughal Political Portraiture’.
Portraiture in South Asia since the Mughals, Edited by Crispin Branfoot. I.B. Tauris.

Goswamy, B.N., and Eberhard, F (2009). Pahari Masters: Court Painters of Northern India. Niyogi Books.

Mitter, P. (2001). Indian art. Oxford University Press.

Radha and Krishna on a bed of plantain leaves in a grove. (2018, May 06). Retrieved from
https://www.mfa.org/collections/object/radha-and-krishna-on-a-bed-of-plantain-leaves-in-a-grove-149240

Singh, K (2016). ‘Congress of Kings: Notes on a Painting of Muhammad Shah Rangeela having Sex’. In
A Magic World: New Visions of Indian Painting, Edited by Molly Emma. Aitken Marg Publications.

Stronge, S. (2010). Made for Mughal emperors royal treasures from Hindustan. I.B. Tauris.