After कृष्ण-छाप (Krishna’s Imprint), where we explored various facets of Krishna’s life; we now launch another enquiry into his life and deeds, as seen in one of the most abiding visual idioms connected with his personage: the Nathdwara school. After exploring the mass appeal of prints, that made him popular amongst a wide laity; we delve into श्रीनाथजी दर्शन (Viewing Shrinathji): some unique and intimate darshans from the Nathdwara school.
Diametrically opposed to the popular appeal and availability of prints, we encounter the secret spectacle of Nathdwara. Photography is prohibited till date in Shrinathji’s temple, and the lack of photographic imagery made sure that the painted image remained in circulation; and ensured the continuance of the Nathdwara school of art, which evolved from late 17th c. onwards, when the idol of Shrinathji was established at Nathdwara. Compare the rich burgeoning visual tradition of the Pushti-Marg with that of the Gaudiya Vaishnava tradition; and the crucial role that the lack of photography played in the impetus to painting will be apparent: the Mathura school of Art, once a classical fountainhead of visual aesthetics is now dead; as the bazaars of Vrindavan are flooded with photographic images of Krishna; and painting, once a flourishing art, is almost non-extant now.
Within the Nathdwara school, we make a departure from the more popular large format Pichvais that are largely representational of this idiom in the popular imagination; and explore sub-idioms from the Nathdwara school, that make this curation doubly intimate, fresh and valuable. In this series,we look at smaller format paper works, including some that embody the process based idea of artists’ sketches. These images portray the micro narrative of Krishna as opposed to the macro narrative of the large scale Pichvais.
Portraits of Shrinathji
We open with four singular images of Shrinath-ji, a popular subject of paper works. This genre portrays Shrinath-ji’s image individually, without any context of a background or thematic / narrative setting, which we find more often in Pichvais.
These images are executed in different styles. Sometimes, they are rendered in the naive Bazaar style, which is now extinct. Paintings in the Bazaar style were crudely and naively rendered and available at various shops in the bazaars of Nathdwara: shops that would typically not be exclusive shops for visual art, but would dabble in selling textile, jewellery, along with a mix of these images as affordable souvenirs for the travelling devotees. Yet others would be executed in a more refined style, with finer linework and detailing closer to the finished look of Pichvais.
This set of four images, also shows various stylistic affinities: from the Bazaar style to more detailed works. They are followed by a similar singular rendition of Shrinath-ji: but executed in the style of reverse glass painting, attributed to the Shekhawati school of art.
Khakhas: Studies / Preparatory Sketches
A fascinating sub-genre that is part of the Nathdwara school is that of Khakhas - artist’s studies or preparatory sketches. These sketches would be executed by artists as studies for a Pichvai, or as practice compositions to improve their skills.
Khakhas could be very technical, with artists practising their drawing skills in a grid like composition; or more creative in exploring various versions of a theme before the final decision was made as to how a theme was to be visually depicted in the final work. Sometimes, watercolour works which were final artworks in their own right, and not studies for a Pichvai, would also be referred to as Khakhas. Gradually, some artists also started making Khakhas for the sole purpose of selling these works, and in that sense, they were not made as studies or practice sketches, but as an imitation of the same!
This series presents a set of 8 Khakhas which gives a glimpse into the variant process of technique and content, visual and emotive configurations; that the practice of making Khakhas embodies.
Four of them depict various permutations and combinations in depicting the story of Daan-Leela: when Krishna stops the Gopis who are smuggling butter out of Braj for commercial gains, in an act that not only fulfills his selfish love for dairy produce; but also makes a case in point for guarding local produce for local consumption!
We then see two sketches each of two other themes: the first one being Govardhan Leela, where Krishna lifts up Mount Govardhan to save the people of Braj from seven days of torrential rain that Indra unleashed upon the land; secondly, we see baby Krishna along with his friends, the Gopas of Braj, stealing butter!
The Khakhas can be displayed as a set to highlight their process based function, or even individually.
Miscellaneous Paper Works
We close the Nathdwara series with some assorted works. The small format image of Lalan (Navanita-Priya ji) shows the infant Krishna being served by two Goswamis. He is enjoying a flower-bedecked Jhoola (swing) and the two Goswamis hold up toys for his enjoyment. The work is significantly damaged, and yet ever so charming!
Lastly, we witness a fluting Krishna flanked by cows on either side; in a set of two works that portray the same theme. The naive simplicity (notice how some of the cows are rather unusually elongated, hence not realistic) of these works is endearing.
राधे राधे : Happy Birthday beloved Krishna!