Laxman Pulls Out a Thorn from Rama's Feet

 Laxman Pulls Out a Thorn from Rama's Feet

Kangra School. Late 18th century AD.

         Although this is a painting of a subject from the Ramayana, but this doesn't seem to be from the series painted by Godhu. Stylistically it is different from his series. The figures are more delicate,  the landscape is not drawn meticulously,  the theme is inaccurate.  For Rama, Sita, Laxman are shown together with Hanuman. But Rama and Laxman had met Hanuman only after Sitaji was abducted by Ravana.
         Yet this painting is a delicate and a beautiful one. Rama lies across, pointing to the place where the thorn has pierced his foot. Sita fans him with a lotus leaf; Laxman, the ever so dutiful brother, tries to extract the thorn. Hanuman, symbol of curiosity looks at his own image in the flowing river. Notice the dead deer, killed by the two brothers.
         The painting depicts the close binding of the family. It also draws the sacrifice a man makes for his family. Yet, it also portrays the narcissistic nature of Man--in the figure of Hanuman. He is happy to see his own reflection in the water.  River is the symbol of life. Some of us are so obsessed with ourselves that we overlook the divinity around us.

A Sage Welcomes Lord Rama, Sita and Laxman

A Sage Welcomes Lord Rama, Sita and Laxman

by Godhu. From the Ramayana series
Kangra School. Around 1785 AD

         Lord Rama has been living in the jungle for some time. He has not only interacted with the sages, but has also protected them from demons and other dangers. Here a sage welcomes Lord Rama, Sita and Laxman to his hermitage. Hearing the news of His arrival, other sages make a que. A few sit in caves and meditate and perform austerities. The mountainous river with its boulders flows by.
         Godhu has caught the lush greenary of the forest, the unique rock formations.  The tranquillity of the landscape speaks volumes in this miniature.
         Generosity,  courage, humility,  a sharp mind and wit always wins laurels for us--even in the wilderness.

Lord Rama Leaves the Hermitage of Agastya Muni

Lord Rama Leaves the Hermitage of Agastya Muni

by Godhu. From the Ramayana series.
Kangra School.  Around 1785 AD.

         During his exile in the forest Rama meets many sages, both men and women. From each one he learns something new. Sage Agastya, a renowned philosopher, teaches Rama many things about Kingship, and about weapons. In the upper left corner we see Rama sitting with his hands clasped in a gesture of submission.  In the centre,  a pupil of the sage has come down to fetch water from the river. In the right side of the painting,  Rama and Laxman swim to the other shore of the river, while Sita floats on a raft. In the upper right corner,  the three live in a simple hut surrounded by deer and peacocks.
      Godhu is known for complex narrative technique where different episodes of Ramayana are placed in the same painting.  He is also known for his almost three-dimensional landscapes with a feel of deep depth in them. One can walk miles through the hills and dales of his paintings.  Unlike the Mughal miniatures,  there is a sense of realism in his works.
       Though considered to be a god, Lord Rama is epitome of humility.  He bows and learns from everyone.  Humility and the ability to learn permits us to cross the river of life. Though the forest is full of wildlife, one finds only deer and peacocks--symbols of beauty and bounty if one has the correct perspective about life.

Rama Converses with the Hermits

Rama Converses with the Hermits

 by Godhu. From the Ramayana series.
 Kangra School. Around 1785

          Rama, Sita and Laxman build a hut in the forest of Chitrakoot and settled down. The news has spread in the forest about three persons who look like princes and princess but who roam around like mendicants. The hermits have come to their hut. While Rama is lost in conversation,  Laxman stands on guard.
          Godhu is known for his fabulous landscapes as in this painting.  His work is meticulous.  The hermits are individualised; the figures of Rama, Laxman and Sita are idealised. The forest, the trees, the birds, the hills and dales, the river are all done with precision and keen observation.  Godhu brings the element of landscape painting into the Kangra School. 
          It is in the wilderness of life that we converse and learn about the secrets of life. Life may be as chaotic as a forest, but it is a learning experience.

Preparation for the Exile

Preparation for the Exile

by Godhu. From the Ramayana series.
Kangra School. Around 1785 AD.

          Godhu is Ranjha's elder brother. While Ranjha did the Nala Damayanti series, Godhu is said to have done the Ramayana series. However he has not illustrated the entire Ramayana epic. We have illustration of only the 'Aranya Kand' chapter of the Ramayana.  So far, the entire series has not been published in one place. For the miniature paintings of this series are scattered throughout the world. But most of them are in the Rietberg Museum in Zurich.
           Here Godhu depicts the moment when Lord Ram, Sitaji and Laxman have decided to leave for fourteen years for the forest. Raja Dashrath sits dejected,  unable to control the sudden change of events.  His favourite son has to go to the forest. Lord Rama's roy clothes lie on the floor as he ties the clothes made up of leaves and bark. It is a poignant moment of sacrifice, of selflessness.  The three leave Ayodhya on a chariot,  followed by the people of Ayodhya. The city lies abandoned and deserted in the background. 
         Aranya Kand deals with the hardship of the forest life. We do not emerge as heroes unless we go through hardship.

Raja Bhima Receives the Guests

Raja Bhima Receives the Guests

by Ranjha. From the Nala Damayanti series.
Kangra School. Late 18th century AD.

          The guests have started pouring in for the swayamvar. Raja Bhim bows to Nala and receives him with all the courtesy due to a guest. While Raja Bhim is accompanied by his priests, Nala is with his retinue of arm bearers and courtiers.  The city is full of activity: a procession of prince passes through the main bazar in the right corner of the painting;  tents are being set up on the left upper corner; a big tent is being erected in the foreground;  princes have settled into their pavilions;  few are discussing the possibilities of their winning Damayanti's hand in marriage. 
           Ranjha is at his best capturing the sights and sounds of a bustling city. One can hear the sound of the tent pitchers, the sound of the horses and the camels, the shouts of the servants, the conversation of the princes. The scene looks chaotic, but everyone is busy with his own life and activity.  It looks like a typical Indian city.
          Yet what seems permanent is temporary. We are all tent dwellers. Here today, gone tomorrow. 

Princes Going to the Swayamvar

Princes Going to the Swayamvar

by Ranjha. From the Nala Damayanti series.
Kangra school. Late 18th century AD

        Traveling was not easy in the old days. It took many days to reach the destination.  The crowd of Princes has swelled. Each on his own mount: on horses, elephants,  palanquins. Ranjha has captured a variety of individuals: the prince, the soldiers, the flag bearers, the 'mahawats', the nobels. There is excitement and anticipation in the air. Nala sits on the central elephant.  He is busy in a conversation.  His mahawat leans forward as though prompting the elephant to move a bit faster. While everyone dashes towards the city in the distance,  there are a few who are still getting ready to leave in the uppee left corner. There are always the late comers!
           Life is a spiritual journey where some are ahead of others. But most of us walk together. Our routes  are different,  our mounts are different,  but the destination is the same. The journey is long, but eventful.

Damayanti Lost in Her Thoughts

Damayanti Lost in Her Thoughts

by Ranjha. From the Nala Damayanti series
Kangra School.  Late 18th century AD

        Having received the messages from the gods, having met Nala face to face, Damayanti is caught in the horns of dilemma: whether to marry one of the gods, or to marry Nala. At night, she ponders over the question. Meanwhile,  under a moonlit night, Nala tells the gods what happened at Damayanti's palace and about her reaction to their messages. The air of anticipation,  the air of confusion fills the painting.  The strong shadows dancing on the wall of Damayanti's chamber add to the suspense.  While Damayanti tosses and turns, others in the palace are fast asleep. 
         Ranjha has beautifully caught the psychological fight raging within Damayanti's mind. The shadows are of her mind or are they real, is for us to decide. The irony of the situation is well conveyed. Ranjha also shows his knowledge about the influence of Western art--the use of light--in Mughal miniatures and in the works of Nainsukh.
         We too are tormented when we are caught in a dilemma.  But dilemmas are part of life. Even Arjun was caught in a moral dilemma at the battlefield of Kurukshetra. We all fight our own battles as Damayanti fights hers. The nights are long while the gods discuss our fates.

The Swan Speaks to Nala and Damayanti

The Swan Speaks to Nala and Damayanti

by Ranjha. From Nala and Damayanti series
Kangra School. Late 18th century AD

         During their conversation,  repeatedly Damayanti asks Nala as to who he is. But he evades the question. Suddenly the swan appears and tells Nala to reveal his identity.  Nala tells Damayanti that he is Nala. She comes face to face with her lover.
         Ranjha has caught the palace in all its details. The lovers sitting in a room with two maids; the fawn and the ducks at the fountain. The fawn is symbol of the lost lover. The maids are busy preparing Damayanti's bed; another maid fills the pitcher with water. Possible symbol of the neptual night and fulfilling of desires. The maids are the eyewitnesses before whom the entire drama unfolds.
        Nala is the ever obedient person who refuses to reveal his identity although asked to do so. He is the symbol of a person doing his duty even if it harms his own interest. That is dharma--a concept central to the culture of ancient India. A concept forgotten in modern India. We need to bring back the concept of righteous duty back into our lives.

Nala Meets Damayanti

Nala Meets Damayanti

 by Ranjha. From the Nala Damayanti series
 Kangra School. Late 18th century AD

          Lord Indra' female messenger has left Damayanti's palace, when suddenly Nala reveals himself. With the sudden appears ofa man in the ladies palace,  there is a flutter of  whispers, a sense of awe. Even the ducks at the fountain are ruffled. Damayanti ia flustered.  She suddenly gets up and holds on to the pillar to steady herself. With feminine modesty, ao essential for medieval India, she gazes at the floor. In her bewilderment,  she offers Nala her seat. But he tells her that he is merely an emissary from the four Gods. He is there to propose on their behalf and to plead their cause. The maids are struck by his handsomeness and demure. 
           This is one of the most realistic miniatures of the series as one can hear the whispers,  the discomfort, the awe struck in each character of the painting.  Damayanti is the epitome of feminine grace and beauty.  Despite its formal symmetry, the painting is alive with details and woth realism. Like Fattu, Ranjha has captured the nuisances of love in all its fleeting moments.
          There cannot be a better set of painters and paintings than this on the theme of love. Love is carried from the profane to the sublime. 

Damayanti Receives a Gift from Lord Indra

Damayanti Receives a Gift from Lord Indra

 by Ranjha. From the Nala Damayanti series
 Kangra School.  Late 18th century AD

           Even before Nala can reveal himself,  Lord Indra sends a garland for Damayanti along with his proposal for marriage. With reverence Damayanti accepts the garland. She hears the marriage proposal, but does not respond. Some of her maids request her to accept the proposal. But Damayanti maintains a studied silence.  Nala, invisible to all--including us, is pleased to see her diplomatic response. For silence is neither a negation, nor an acceptance of the proposal. A few maids leave being disappointed a bit by Damayanti's silence. In the other parts of the palace activities continue asusual.
            Silence is important. It keeps the world guessing. It saves us from embarrassing situations. Learn to smile and be silent.

Damayanti Garlands the Invisible Nala

Damayanti Garlands the Invisible Nala

by Ranjha. From the Nala Damayanti series
Kangra School. Late 18th century AD

         Having come back from the temple,  Damayanti casually throws a garland towards the maid standing at the door of her inner apartment.  But it lands on the neck of the invisible Nala. ( If you enlarge the image, you can see a transparent figure of a man--that is Nala standing near the door). There is shock and dismay as the garland hangs in the air. While in the palace, Nala has been to some mischief: he has painted Damayanti's portrait on the wall in the lower chamber. Three maids are admiring the exquisite portrait. Moreover, maids in the upper floor are amazed as they can see the reflection of a man in the mirrors on the wall; but what is a man doing in the ladies' palace, they wonder.  Who is this handsome man ? A figment of their imagination or a spirit? 
         Ranjha depicts the suspense,  the humorous situation, the poignancy of the moment in all its details.
What is reality? That is the issue. Is it what is visible or what is invisible?  What is invisible also becomes visible at certain moments. We garland even an invisible force whom we cannot see but whose presense we can feel. Love, like God, can be felt, can be experienced,  but cannot be seen.

Nala Enters the Inner Apartments of Damayanti's Palace

Nala Enters the Inner Apartments of Damayanti's Palace

by Ranjha. From the Nala Damayanti series
Kangra School.  Late 18th century AD

         "But how can I enter Damayanti's palace without being noticed?" Nala asks Lord Indra.
          "We will give you the power to make yourself invisible" Lord Indra says.
       Having gained that power, Nala secretly enters the inner apartments. There is commotion in the foreground as a shadow falls on the ground,  but there is no one there. A frightened girl runs; the door keeper feels uncomfortable as a shadow has just crossed the threshold.  Others, unaware of the commotion,  go about their morning routine works.  While someone is still asleep, other women come out while arranging their hair; one is taking her bath, others are looking for their jewellery. 
            Ranjha has caught the daily activities in minute details.
         Thoughts secretly enter our minds, catching us unaware.  Till they reveal themselves. But they come, they see, and they conquer.

The Gods Make Nala Their Emmisary

The Gods Make Nala Their Emissary

by Ranjha. From the Nala Damayanti series
Kangra School.  Late 18th century AD

            The clever gods have decided to entrap Nala. They have halted and asked Nala to stop on his way to Kundinapura. Indra, the cleverest of them all, asks Nala to be the Gods' emmisary and plead their respective cause with Damayanti.  Nala stands with folded hands. He has no choice, but to their bidding.          

            Ranjha shows the four gods: Indra, Yama, Agni, and Varun. The courtiers look helplessly on as Nala falls for the plot conspired by  the Gods. In the distance Kundinapura hangs like a distant dream.
            Many a times, we have to do things which might be against our wish or plans. But the belief in destiny is a strong one in India. Even in the West, it is said, " Man proposes, God disposes". So is life.

Narad Arrives in the Court of Lord Indra

Narad Arrives in the Court of Lord Indra

by Ranjha. From the Nala Damayanti series
Kangra School. Late 18th century AD

       If Kamdev(Cupid) ignites love, Lord Narad sparks off controversies and discord. Raja Bhima has announced Damayanti's 'Swayambar' ( the right of a bride to choose her husband from an array of suitors). Narad sees a great opportunity to foment trouble amongst the Gods and between the Gods and Nala. So he goes of to the court of Lord Indra. He tells him about Damayanti's beauty and talents. As the chief of the Gods, Lord Indra must marry her. After all, He should have the best things in the world.  He goes and tells all the other Gods about her splendid beauty and intelligence.  All of them must seek her hand at the Swayembar. The discord is sowed amongst the Gods.
         Ranjha paints the Indian version of heaven. In the background,  Lord Indra bows and receives the learned Sage Narad.  The heavenly damsel ( the Apsara) is seen dancing; the Gods sit in an assembly listening about Damayanti's description.  In the foreground,  Narad leaves Lord Indra's court, having implemented his dubious plans. The troubles are about to begin.
         Narad is said to be Lord Brahma's son. Lord Brahma is the creator. But eve the mind of the creator can be mischievous.  Narad is the symbol of the mischievous mind. Such minds are common in any society.  One needs to be weary of them.

The Gods and Nala Proceed for Damayanti's Swayambar

The Gods and Nala Proceed for Damayanti's Swayambar

 
 by Ranjha. From the Nala Damayanti Series
 Kangra School. Late 18th century AD

             Narad has ignited the desire in the heart of every God for marrying Damayanti. Raja Bhima has announced her Swayambar. Both the mortals, including Nala, and the immortals rush towards Raja Bhima's capital, Kundinapura. Indra, Yama, and Agni ride in their respective vehicles up in the sky;  Nala rides in his splendor on earth. Other princes also move towards the same destination.  The object of their desire is not too far off, as the city of Kundinapura sits on top of a hill on the right corner of the painting.
            The narrative technique is complex as the travels of different groups is shown simultaneously.  The next phase of the story is hinted by the city on the right.
           Whether it is the Gods or us we move with the same desire: To win the riches. Damayanti is no longer a mortal woman; she symbolises wealth, and bounty of nature. She is transformed into a goddess whom everyone seeks.

The Swooning of Damayanti

The Swooning of Damayanti

by Ranjha. From the Nala Damayanti series
Kangra School.  Late 18th century AD

              The pangs of separation reach a zenith.  Unable to bear the pain of separation,  Damayanti faints. There is utter confusion and commotion in her inner apartment. The old maid rushes in with a incense burner to clear the air; every maid tries to 'fan' Damayanti with whatever she can lay her hands on--even if it is a cushion.  Few maids, imagining the worst,  start weeping. News is sent to Raja Bhima, who arrives with his minister and the physician.  Both tell him that nothing can be done as Damayanti is love struck. The physician, with folded hands, tells the king the only remedy is a herb called "Nala". The news of Damayanti's condition has escaped the palace. The anxious people have started gathering in front of her palace. The door keeper is lost, unable to answer the questions.  He too is saddened by the news. The moonless night stretches on.
             Although not warranted by the text of the story,  Ranjha has purposefully depicted the scene at night. To make the scene more dramatic.  The flickering of the shadows on the wall makes the scene more omnibus.  All is not well in the kingdom of Raja Bhima.
            Too much of love can be harmful. Though Kaam (love or sexual desire) was one of the four goals of Hindu life, but excess is dangerous.

Damayanti Accuses the Moon

Damayanti Accuses the Moon

by Ranjha. From the Nala Damayanti series
Kangra school. Late 18th century AD.

             By day the monsoon clouds, by night the full moon torments Damayanti. Love lorn, separated from Nala, she burns with desire and hope. The full moon rises and spreads a romantic aura, further adding fuel to the fire. Damayanti accuses the moon of only adding to her woes, of agonising her. She asks him where did he learn this ability to torture the lovers. Seeing the moon, she tells her maids to show a mirror to the moon, capture the image of the moon, and to hit the mirror with a stick. The maids are ever ready to follow her command.  A maid raises the curtain, a maid holds up the mirror, another is ready to strick with a stick. Other maids prepare balms and paste for Damayanti. Two maids gossip while one adds more oil to the torch. Even the cool full moon night is going to be long and torturous.
             Ranjha has fantastically captured a full moon night. The colors are muted and dull. The candles burn in their glass cases. The white marble shines in the light of the full moon night. The atmosphere of the night is realistically rendered.
             Like us, Damayanti blames others, even natural elements,  for her own troubles.  But then, cupid's arrows make us blind.

Damayanti Tormented by Clouds

Damayanti Tormented by Clouds

by Ranjha. From Nala Damayanti series.  

 Kangra School. Late 18th century AD

          Damayanti's pain of separation continues.  It gets aggravated as the monsoon clouds come rumbling in. Since the monsoon lasts for four months, it is the time for long unending separation.  The pining continues.  Clouds are also symbolic of uncontrolled love.  For like the dark clouds, love knows no barriers; it just bulldozes its way, pushing logic and reasoning away.
         Damayanti is desolate. Her maids are helpless.  Damayanti accusingly points towards the dark clouds which are overwhelming her with their sheer presence. Love is in the air. But alas, Damayanti's lover is nowhere in sight.
         Ranjha again captures the mood of tension, anxiety and helplessness.  The lotuses, the maid rubbing the sole, the old maid servant with a concerned look, the covered pitcher of cold water are all there. But to no comfort to Damayanti. 
       When one is tormented, others are of little help. We must fight our own battles.

The Virah (Separation) of Damayanti

The Virah (Separation) of Damayanti

by Ranjha. From the Nala Damayanti series.
Kangra School.  Late 18th century AD.

       Painters of Kangra Scool excel in depicting the nuisances of love. Fattu depicted the language of the eyes in a love affair; Ranjha captures the pangs of separation.  Love has never been captured in her subtleties better than in the Kangra School. This has placed Kangra School in the world league of great art.
      Damayanti is restless as she can no longer bear the separation from Nala. Love stricken, she constantly thinks of him. But the more she day dreams, the more she feels feverish.  By night, the heat is palpable in her body. Each maid rushes to Damayanti with her own remedy. One wipes her perspiration with a cloth, another fans her. The old maid fans her with a lotus leaf; she has already placed a lotus on Damayanti's exposed breats. Another rubs the sole of her feet. A maid is busy making a sandal paste in the foreground;  maids are carrying her bed in the background.  The night is going to be a long one for the maids; one of them, pours oil into the torch.
      Ranjha captures the hustle and bustle of the palace, the anxiety of the maids, the restlessness of Damayanti in all its facets. The palace is agog with activities. The first tide of love has struck Damayanti. 
     Even the rich are victim of Kama (love) and of unfulfilled desire. Desire is the cause of pain. And the pain has just begun.

The Swan Returns to Nala

The Swan Returns to Nala

by Ranjha. From the Nala Damayanti series.
Kangra School.  Late 18th century AD.

          Having met Damayanti,  the Swan returns to Nala to convey her message.  Sitting under a tree, Nala attentively  listens to the Swan. His retainers are concerned about Nala's speaking to and listening to a Swan. Even the figures in the background are in animated conversation.  Something is amiss.
          Ranjha again depicts a 'charbagh' pleasure garden as the setting of this episode. The Mughals had brought the Persian concept of the four gardens surrounding a building in the center. The Humayun's tomb and Safdarjung's tomb in Delhi are classic example of charbagh concept. Here Nala's pleasure pavilion is  the central building. We know it as a pleasure pavilion as it has a carpet and bolsters. It is surrounded by fountains and flowers and by lush green trees and shrubs.  Despite the idylic setting, there is a sense of suspense.
           The pleasure garden is a symbol of life: smooth flowing,  yet unsettled.

The Swan in Damayanti's Garden

The Swan in Damayanti's Garden

by Ranjha. From the Nala Damayanti series.
Kangra School.  Late 18th century AD.

            Being freed by Nala, the swan lands in Damayanti's garden.  Damayanti is fascinated by the golden swan. She tries to capture it. But the swan runs away to a secluded part of the royal garden. There he tells her about Nala's feelings for her and conveys his message. Damayanti stands in rapt attention listening to the swan.
           This is one of the best paintings of the Nala Damayanti series. Ranjha paints a typical 'charbagh' (four gardens) of the Mughal period. The flowers bloom in the flowerbeds;  the fountain plays in the center. There is the movement of the running Damayanti,  contrasted with the stillness when she is attentively listing to the swan. The Persian Wheel turns on the upper left corner of the painting--a rare image in Indian Art. The group of maids giggle and gossip when they see the princess running after a swan. Other maids and friends stroll in the garden admiring the flowering shrubs.  Within the enclosure of the royal pleasure garden,  life is full of vitality--of a blossoming love.

Nala Releases the Swan

Nala Releases the Swan

by Ranjha. From the Nala Damayanti series.
Kangra School. Late 18th century AD.

             Having gone to his pleasure garden, Nala had caught a golden swan. Frightened the swan had tried to be released. After patting it with love and affection,  here Nala sets it free. The swan returns to Nala to thank him for his compassion. He tells Nala about the beauty of Damayanti. Nala confesses that having heard about her beauty, he is already in love with her. But he doesn't know how to communicate his love to her. The swan offers his services to carry his message to her.
           Here we see the lush garden inside the closed walls; a pond of lotus flowers where two men look inside the pool, perhaps enjoyong the fish swimming in the pond. We see the Mango tree in the foreground,  and the Banayan tree in the background.  While Nala releases the swan, his 'jama', the clothes worn by him, is tucked away in his belt, revealing how he had to struggle with the swan to keep it under control.  He is also seen wearing horse ridding shoes. Once the swan is released, it circles over Nala and the rests in its nest,  surrounded by his fellow birds.
           Interestingly Ranjha does not paint a swan, but a crane which are common in North India. But nonetheless his observations of human activity and of actions and reactions of birds are intriguing.
           This episode teaches us that compassion and kindness pays.

Nala Going Out of His Palace

Nala Going Out of His Palace

 by Ranjha. From the Nala Damayanti series.
 Kangra School. Late 18th century AD.

            Kings also need diversion.  Having conquered many kingdoms, having returned to his capital,  Nala is going out to his pleasure garden rendered in the distance at the top right corner of the painting.  Nala is lost in his own thoughts while his soldiers walk animatedly in  front and his courtiers gallop behind him. In the distance,  his army marches; they are engaged in a mock battle. In the distance we see the dawn breaking out. Perhaps an element borrowed from Fattu's paintings.
            Despite all the activities around him, Nala is detached, and solemn.  His portrait has the regal quality og a Mughal portrait of a king or a prince. His detachment is a reflection of the Hindu ideal of a king. He should be absorbed in the workings of the world, yet he should be detached from this world as the world is nothing but an illusion.

The Arati of Nala

 The Arati of Nala

by Ranjha. From the Nala Damayanti series.
Kangra School.  Late 18th century AD.

              Having conqueredin the four directions, Nala comes back to his capital.  To welcome him back from his conquest, the priest perform a Arati on him in order to ward off any evil, and to pray for his health, wealth,  peace and prosperity. Nala, true to his humility,  sits with his head bowed. He does not display the usual arrogance of a conqueror. A coterie of his courtiers sit on the left, the court dancer dances on the right. The royal ladies, eagerly waiting to receive Nala, are confined to their palaces. The solemnity of the scene is broken by the rhythm of the musicians and the movement of the dancer.
              Ranjha shows his interest in Western art, which was familiar to the Mughal artists, by playing with the perspective (three dimensionality) of the fountain in the foreground,  and with the shadow playing on the wall from the flickering arati. He also tries to individualize the figures by changing the facial types and by introducing different colors for the same clothes. Notice the different colors of the turbans worn by the priests.
              It is a world full of gaiety,  music and dance. A world of humility and poise. A world where men and women are segregated.  In the views of the  medieval India, a world in order.

Damayanti and the Painter

Damayanti and the Painter

 by Ranjha. From the Nala Damayanti series.
Kangra School. Late 18th century AD.


            Having fallen in love with Nala, Damayanti dreams about him (she is shown sleeping in the right side of the painting). In the morning, she calls a painter to paint her dream. The painter, with his bag, enters her palace from the left side of the painting.  In the center, we see the painter sitting on a low stool (chawki) painting a loving couple on the wall under Damayanti's instructions. 
           Ranjha ha caught the  liveliness of the palace with all its nuances.  The maid leading the artist into palace. The peacock on the roof; the ducks waddling into the courtyard for a drink at the fountain.  He even tells us that it is the summer month as the artist has his head covered with a cloth; the peacock hardly has his lush tail; the ducks are thirsty. 
           Ranjha, like Fattu, captures the different stratas of the society: the low paid, the low status of the artist;  the luxurious surroundings of the rich princess; the old but fat maid standing almost as a supervisor, keeping her eyes open as a man has come to the Zennanakhana (the Ladies Palace). Damayanti's friends and maids gossip while Damayanti describes her Prince Charming to the painter. Their giggles and the quacking of the ducks fills the air.
       Although the painting is stylised, it is full of realism. Ranjha was a minute observer.

Damayanti Listening to Praises of Nala

Damayanti Listening to Praises of Nala

by Ranjha. From the Nala Damayanti series.
Kangra School.  Late 18th century AD.


              Storytellers have come to the court of Raja Bhima, Damayanti's father. They sing praises about Raja Nala. From the window of her palace Damayanti listens to the storytellers praising Nala. She falls in love with him. In the background,  she tells her Sakhis " I have captured and kept Nala in my heart like the deer is kept in the palace."
             Compositionally,  this is one of the most complex painting of Kangra School. Ranjha cleverly divides the painting into three parts. In the central part, we see Raja Bhima sitting with three courtiers, listening to a group of bards. The bards stand in the courtyard and sing. They have brought a humble tribute for the Raja: coconut and the Kush grass. On the right, having lifted the curtain of her window, we see Damayanti listening to the storytellers from her balcony.  In the background, she sits in the inner courtyard, listening to music and carrying on a conversation with her friend while a deer drinks from the water fountain. 
              The narrative technique is quite complex.  Three different episodes,  in three different time frame, in different settings are contained in one painting.  Different perspectives are used to present the continuous narration of the story. This narrative technique is quite common in Indian art.
              The individualization of the faces, the costumes of the men, the architecture of the buildings reveal the influence of the Mughal art on the Pahari region. Though the story is Hindu, the setting is Mughal. After all, the story is of love. Love where difference between people disappears; where one learns from the other and enriches oneself; where one accommodates the differences and lives in harmony with each other. It is this love which is reflected in the works of Ranjha

The Glory of Court of Nala

The Glory of Court of Nala

by Ranjha (1750-1830) From the Nala Damayanti series.
Kangra School.  Late 18th century AD.


                Ranjha was the youngest son of Nainsukh, the famous Kangra painter. Ranjha painted the story of Nala and Damayanti in a series of miniatures called the Nala Damayanti series. These paintings can be seen in Jammu. They are available in the museum owned by Raja Karan Singh of Jammu and Kashmir. 
                The story of Nala and Damayanti is originally told in the Hindu epic, Mahabharat.  But these paintings are based on a twelfth century version of the same story written by Sriharsa called Naisadhacaritra or simply Naisadha. Raja Nala was the king of Naisadha. Hence, the story of Naisadha.
           The story of Nala and Damayanti is a story of love and sacrifice.  But this series of paintings end with the marriage of Nala and Damayanti.  Thus, the paintings concentrate only on love.
           Nala sits in his court with his courtiers.  A courtier has just entered the court and does the 'paibosh' , the three time salutation which was done for the Mughal emperors.  Of course, Nala's court does not have the opulence and grandeur of the Mughal Court. Instead, it is a simple court of a Pahari Raja. Ranjha seems to have based it on the court of Raja of Kangra, Sansar Chand. In fact, the face of Nala resembles the portraits of Raja Sansar Chand. This is not surprising as Raja Sansar  Chand was patron of the family of Pandit Seu. Nala sits on a throne which is on the floor, unlike the Mughal throne which was kept at a height.  This reflects the close relationship between the ruler and the ruled.
            He influence of Mughal miniature is clear in Ranjha's work. But Ranjaha has learned precision from Nainsukh and delicacy of colors from his cousin brother, Fattu. But he surpases Fattu in his composition as we will soon see. 

Ragani Todi

Ragani Todi

Fattu from a Ragamala series.
Kangra School. Late 18th century AD

          Besides painting the Bhagwat Puran series,  and the Bihari Sat Sai series, Fattu is said to have also  painted a Ragamala series. In this painting we find the familiar Fattu's images, a deep landscape,  flowering trees,  a flowing river, animals and birds. This work appears to be by Fattu.
         Classical Indian music is based on Raga system where each Raga is assigned certain notes in ascending and descending order. A combination of these notes improvised by the musician is supposed to create a certain mood. Each Raga or Ragani has to be played at a particular time of the day or night, or during a particular season.
          Ragani Todi is a melody which depicts the pangs of separation between lovers. Lost in the thoughts of her lover, the Nayika (heroine) plays the Vina--a stringed instrument.  Hearing the melodious music, the pair of black bucks are drawn towards the Nayika. A bird flies towards her mate sitting amongst the tree--symbolic of the fact that the lover would
come back to the Nayika.
            Like the Ragani the painting is lyrical and melodious.

The Glimpse of Krishna

 The Glimpse of Krishna

 by Fattu. From the Bihari Sat Sai.
 Kangra School. Late 18th century AD.

        Bihari describes the different morning activities of the Nayika. Here she sits taking a bath on the terrace when suddenly Krishna appears from nowhere.  Radha is not embarrassed.  Instead she looks at Krishna through her wet hair.
        Fattu was a master draftsman who has painted a delicate nude Radha. She is not naked, but nude. The difference between the two is that while a nakef body arouses sexual desire in the viewer as in pornography, the nude does not. The nude is unabashed of her/ his beauty.  She/ he does not show off its sexuality.  Here Radha though without clothes is presented as the ideal of feminine beauty according to the taste of her time. The woman is delicate, porcelain like, with small breasts, big hips, flowing hair, delicate hands. All the women look alike. For they are not individuals,  but a symbol of beauty.
        We structure our world around us with artificial factors. But  we have to cleanse ourselves to be able to see God. Since God is omnipresent,  he can appear suddenly and from anywhere.  The relationship between soul and God is an eternal one.

The Message of the Eyes

The Message of the Eyes

by Fattu. From Bihari Sat Sai series.
Kangra School.  Late 18th century AD.

               Indian poets have bern written rapturously about the eyes of a Nayika and Nayak. For,  the eyes are the windows to the soul of the person. In Bihari's poem one Sakhi (friend) says to the other: "Although her glance may wonder to others, but it turns away immediately Seeing her own lord her gaze  becomes steady like the mariner's compass."
         In another couplet he writes describing the behaviour of lovers through the exchange of glances as :
             "They speak, disagree,  rejoice, get annoyed, get reconciled again, feel pleased, and then absorbed,
While seated in the crowded hall, they speak to each other with their eyes".
            Fattu seems to have painted the latter couplet in this painting.  Radha is crossing a hall when she suddenly realises that Krishna is staring at her. She turns around, looks at him, and the message is conveyed.  The Sakhis standing in the hall have understood the undercurrents of love between the lovers. Gossip has started.
           To communicate with divinity one doesn't need a middleman. To look at God one needs to close one's eyes and communicate directly to Him. Even while living a busy life, one can be in communion with God. Hence the lovers in a crowded hall.

Quest for the Lover in Moonlight

Quest for the Lover in Moonlight


by Fattu. From the Bihari Sat Sai series.
Kangra School. Late 18th century AD.

          The lady who goes out to meet her lover is called "the Suklabhisarika." Dressed in white chunnari, she hides herself in the full moon's light. Bihari says:
         The young maiden was ao much like the moonlight that walking under the shinning moon she became invisible. Her companion was able to follow her guided by the fragrance of her limbs.
       Fattu, with a limited palate,  has captured the Nayika walking slowly under the moonlight.  She is seen only because of the shadow cast by her. The Sakhi (friend) turns to see if there are any lurking dangers. The tranquility of the night, the unknown dangers and fears are caught beautifully.
      White is the color of purity.  The pure soul quietly moves towards God in its spiritual journey.  It is accompanied by the guru, who looks after the pitfalls and dangers around us. He guides us in our eternal quest for enlightenment,  for Moksha (liberation).

In Search of Her Lover

In Search of Her Lover

 by Fattu. From the Bihari Sat Sai series.
 Kangra School. Late 18th century AD.

        Trying to avoid the constant gaze of the people, lovers prefer to meet at night. Bihari says: Thougg clad in blue, the dark night cannot hide her as she goes to meet her lover.The flame-like brilliance of her body illumines the night itself.

        She is the 'Abhisarika' Nayika, brave, courageous,  driven by passion who undertakes the treacherous path in order to rendezvous with her lover at night. With muted dark colors of the buildings, with starry night, Fattu depicts the stillness of the night. The Sakhi (friend) leads the Nayika to her destination.

         Life is like the dark night; the path of devotion is a treacherous one. One needs a friend, philosopher and guide, a guru, to be led to enlightenment. The soul is self-luminous, but incomplete till it unites with the creator. The path is long, but not unending.

Restlessness of Love

Restlessness of Love

by Fattu. From the Bihari Sat Sai series.
Kangra School.  Late 18th century AD.

        No matter what happens the Nayika must see the Nayak. In Bihari Sat Sai one Sakhi describes Radha's condition to another Sakhi in the following words:
        Entangled in love, the Nayika is behaving like an acrobat,Running up and down from the attic of her house, she does not feel tired,On one side is the pull of her newly born love, On the other is the honour of her family,Streched between the two she feels severely afflicted, And spends her days rotating like a pully.She moves from one place to another, and does not tarry even for a moment. She has no peace of mind and like a revolving yo-yo she is constantly in a whirl.
         Seeing Kriahna from far, Radha rushes to the top floor. Whe he nears her abode, she comes down to her first floor. When he passes by her house, she stands at her door staring at Him.
                God can be known through different states of the mind: conscious,  unconscious and subconscious.  Thus, the three floors of the house. As the Sufis say, God is everywhere.  We just have to experience him.

Encounter in the Darkness

Encounter in the Darkness

 by Fattu. From the Bihari Sat Sai series.
Kangra School. Late 18th century AD.

          In the darkness of the night, through the lanes of Vrindavan, the lovers walk past each other. They recognise each other by the familiarity of their limbs.

          Fattu captures the darkness of the night by the muted colors of the buildings,  and by the star studded night. Only the figures glow in the darkness. Fattu places the buildings in hap-hazard ways in order to suggest the meandering lanes of a village.

          We recognise God in the dark hours of our life. We recognise Him by his acts of mercy, and benevolence. It is when we are caught in a labyrinth,  that we seek a guide, we seek God. The village and its by lanes are a metaphor for the complexities of our lives. But even in our darkest hour, both the God and the soul glow.

Tossing the Flower

Tossing the Flower

by Fattu. From the Bihari Sat Sai series.  Kangra School. Late 18th century AD.

       This is one of the most animated Kangra miniature. Radha is about to hot back the flower tossed by Krishna; Krishna is ready to catch it. A sakhi (friend) stands and watches the game and the fun and frolic between the lovers.
       Fattu subtly combines the high energy of the two human figures with the serinity of the landscape in the background.  The hills rise, the river flows quietly,  the trees stand silently. It is the human and the divine who are active.
       According to Hindu mythology,  Krishna is an incarnation of Lord Vishnu--the God who maintains Nature. Radha is an incarnation of Goddess Lakshmi--the Goddess of wealth. It is they who maintian the universe. They must be active. The flower is a symbol of the time, space and of the fluctuating character of Nature, of life. At one level the painting depicts an innocent game between lovers; at another level, it is a philosophical statement about life and Nature. That is the beauty of Indian art.

Love Longings

Love Longings

 by Fattu. From the Bihari Sat Sai series
 Late 18th century AD.

             Surrounded by her family members and friends, how does Radha express her love for the young Krishna who is sixteen years junior to her? Bihari writes:
            Having first looked at me with greedy eyes,Hidden behind the hem of her veil,And then craftily touching her shadow for a moment with mine,The graceful  maiden now walks away."
           In Indian art love is often expressed by signs and symbols. A woman in love expresses her desire by casting side-long glances, scratching her ears, or touching her ornaments.  Seeing Krishna suddenly,  Radha momentarily stops, touches her chin, looks at Krishna, lets her shadow fuse with his, and walks off. Love is subtly conveyed without much fanfare. Love is like a fragrance to be felt; it is not like an ornament to be displayed. But love does not go unnoticed;  already whispers have started in the background with the Sakhis (friends) talking about in the doorway, with the two woman, a young and an old one, discussing it in the balcony. Fattu carries us from the closed space of a courtyard to the deep space of the rolling hills.
       Life is always fleeting, like a damsel walking away. The shadows unite as life is ephemeral, momentary. We see a glipse of thr Almighty. We express our love for Him only in a fraction of a second.  Love is eternal, its expression momentarily.

Half Was She Hidden, Half Revealed

Half Was She Hidden,  Half Revealed

by Fattu. From the Bihari Sat Sai series.
 Kangra School.  Late 18th century AD.

        Krishna stands at his doorway looking at a Gopi who had come to his house asking for curd. Like a poet, He is infatuated by her half hidden, half revealed body. Bihari says:
        The unmatched brilliance of her earrings ahines through her thin garment;It seems as if a leafy branch of the Tree of Paradise is glittering on the ocean.Ahe looked at me smilingly,  after turning back from the door-step;
        She came to take curd, but ahe planted her love in my heart.The Sakhi (friend) informs Radha as to how Krishna has again fallen in love with another Gopi ( a milk-maiden). Fattu has stunningly painted the beauty of a woman half hidden and half revealed through a cotton sari. Having borrowed curd, shyly she walks away. Leaving Krishna in raptures.
        No matter on what pretext we approach God, He is thrilled by our love for Him. The curd is the 'prasad', the blessings we carry from him as we walk in our life. He is all merciful, He is ever so kind and loving. We are all half clad, half revealed as we are pious yet sinful. But nonetheless He loves us dearly.

The Lovely Damsel

The Lovely Damsel

by Fattu. From the Bihari Sat Sai series. 

Kangra School.  Late 18th century AD.

           Krishna passes by Radha's house when she suddenly appears on the doorway. Their gazes meet. Both are lost in each other. Later on Krishna describes her beauty in these terms:
          Tired with climbing the mountains of her breasts,My gaze proceeded slowly to see the beauty of her face,Having met the pit of her chin on the way,It fell into it, never to come out again.This couplet describes the beauty of a cleft in the chin of a Nayika.
         Fattu has caught the suddenness of the meeting with Radha adjusting her 'odhani' and turning to see who passes her street. Fattu has also captured the simplicity of a village, with the sophistication of the city in the background.  He also places a romantic symbol in the two birds sitting amongst the branches. 
Fattu's composition can be recognised easily.  Within an oval frame, he places building structure in the foreground and a landscape beyond the building in the background.  Invariably there is redness in the sky marking the early morning.  Few figures are painted to bring out the  essence of love, the theme of Bihari's poetry.
         Never has love been captured in more subtle ways than in Fattu's paintings.

The Village Beauty

The Village Beauty

by Fattu. From the Bihari Sat Sai series.
 Kangra School. Late 18th century AD.

           Bihari has not only described different types of Nayikas, but has also described their anatomical details. Here he describes a voluptuous village girl who stands and guards her field. According to him, " A garland of water-lilies adorns her breast,
           And flowers of sann-hemp bedeck her forehead,
Thus standing, the lovely damsel, with elevated bosom,
Keeps watch on the field."
       Fattu has captured the typical Kangra rice fields with the rice in blossom, large boulders, a flowing waterway for irrigating the fields. In the background, the elderly woman describes the beauty of the young girl to Krishna.
       Fattu is not interested in capturing the royalty, but in capturing his fellow villagers. He provides a look at the world of the commaner. The young damsel not only harks back to the Yakshi of ancient Indian art, but she also personifies Mother Nature tending all of us--the crop. A village belle is transformed into a symbol of divinity.

The Radiant Beauty

The Radiant Beauty

by Fattu. From the Bihari Sat Sai series.
 Kangra School. Late 18th century AD.

        Besides painting the Bhagwat Puran series, Fattu also did a series of paintings based on the poetry of Bihari called the Sat Sai. Bihari Lal Chaube ( 1595- 1663) was the court poet of Mirza Raja Jai Singh of Amber (Jaipur). At his instance Bihari composed 700  couplets. These couplets deal with the love between Krishna and Radha, the hero and heroine of Bhakti cult. These couplets have been arranged according to the classification of Nayika (heroine) and Nayak (hero).
        Fattu paints the couplet as under:Clad in the newly-washed garment, the Nayika is cooking;The kitchen is shining with the radiance of her lovely face.
          The oval format is a hallmark of Fattu's work. He paints Radha cooking in her simple kitchen.  She is no princess, but is a villager sitting in her hut and cooking. Her Sakhi (friend) describes her radiant beauty to Krishna who is tending his cows in thr background.  Fattu's strength is his ability to transform the divine couple into ordinary human beings. Divinity becomes accessible.

Krishna Kills Raja Kansa

Krishna Kills Raja Kansa

 by Fattu. Bhagwat Puran Series.
 Kangra School. Mid-18th century AD.

          Raja Kansa tries his level best to get Krishna killed. Having failed with the mad elephant, Kansa asks Krishna to wrestle with the royal wrestlers. Krishna and Balaram kill all five royal wrestlers. In fury, Kansa tells his sepoys to arrest Krishna, Balaram, Nanda, Vasudev and his own father Ugrasen and to kill them. Hearing this Krishna loses his temper, drags Kansa from his throne and kills him. Kansa's eight brothers rush to rescue Kansa. Balaram kills all of them with a stick. Pandemonium breaks out. While soldiers run here and there, the Gopas celebrate the victory by playing the drums.
          Fattu shows Krishna draging Kansa's dead body, while his eight dead brothers lie in a heap.
        The killing of Kansa has been seen as endorsing the idea of a political revolution.  The people have the right to violently overturn a bad regime.  But unlike China, Indian history has not witnessed violent revolutions.  In our democracy, we prefer ballots over bullets. Changes are necessary and inevitable,  but they should be through peaceful means. Presently we are seeing a momentous change in our country.  It is a historical moment.