Canvas steeped in devotion

Long before Nathdwara became a village dotted with fancy resorts to cater to tourists, it was in a time capsule, its rituals and traditions remaining virtually unchanged for 300 years. Tucked into the folds of the Aravallis, Nathdwara, in Rajasthan, is home to Shrinathji, a 15th century manifestation of child-god Krishna raising Mount Govardhan. The establishment here of a temple mansion in the 17th century brought together a myriad of social groups. Among them were painters who came to serve the needs of the temple, making pichhavais (painted cloth hangings) and icons for the pilgrims to take back home as souvenirs.

The present catalogue explores the rich collection of Nathdwara works with Anil Relia, an art collector from Gujarat. Relia’s interest in these paintings was piqued by a sketch made by Ghasiram Hardev Sharma, a master draughtsman with a penchant for naturalism. Over the years, his collection has risen to 250 works, including paintings and sketches.

Authors Kalyan Krishna and Kay Talwar take one through the works. They shed light on the everyday life of Krishna, while recording important events in temple history and portraits of people who participated in these affairs, much to the credit of the authors.

Left hand raised in the air, Shrinathji is seen in various settings and moods, in page after page. There are works depicting season-appropriate shingaar of the lord — flowers forming the backdrop for spring, Shrinathji donning a light saffron dhoti in summer, bright colours lifting the mood in monsoon and heavily clad and heavily bejewelled lord in winter... Then there are paintings depicting Shrinathji at the centre of various celebrations and festivals. These paintings adhere to a traditional hieratic style, but the artists display a freer hand in telling the exploits of Krishna. Popular with the pilgrims over the centuries has been the temple plan, serving as an aid to mental parikrama of Krishna’s home, and paintings with sequential panels.

The book shows how the artists have adapted to the times and changed the way they see and depict things. A prominent artist showcased in this collection is Ghasiram, who influenced a whole generation of 20th century artists and is still held in high esteem. This was also a time when colonial art schools were transforming imagery in India, bringing in realism and introducing artists to European techniques. Under the influence, the Nathdwara idiom saw a change, the landscape in many paintings turning European. Interestingly, some works are also inspired by Raja Ravi Varma.

The authoritative and engaging catalogue lets the readers explore the tradition, while making it an enriching experience with scholarly insights. This makes the book not just another coffee table book on art, but one that would serve as a reference material for future scholars of Nathdwara paintings. — TNS