Nanda Celebrates the Birth of Lord Krishna

Nanda Celebrates the Birth of Lord Krishna

by Fattu. Bhagwat Puran series. Kangra School.
Mid- 18th century CE.

       After his uncle, Nainsukh,  Fattu (1725-1785) is perhaps the most creative artist of the Kangra School. At least three series, namely the Bhagwat Puran, the Bihari Sat Sai and a Ragamala series, are known to be done by him. His paintings are unique in three ways, his composition, that is his division of space, his introduction of landscape and deep space, his study of the society of his time, and most importantly his humanising of Gods into mere mortals.

       This painting belongs to the Bhagwat Puran series. Nanda, the foster father of Lord Krishna,  celebrates the birth of Lord Krishna.  Fattu dramatically divides the space between the white walls of Nanda's palace and the colourful group of people.  Nanda sits in his open courtyard, receiving 'kush grass' from the fellow villagers who have come dancing and singing to his house to congratulate him. In the background are the professional muscians playing on the kettle drums, the shahnai, and other horn instruments.

         In the inner quarter,  Yashoda sits with the newly born Krishna, in her arms. She too is surrounded by the maids and an elderly woman--perhaps the wet nurse. Yashoda too receives the 'Kush grass' from the women of the household.  At the gate of the house, other villagers, an old woman, a mendicant, three  young women, a small child have lined up to congratulate Nanda and possibly to receive alms from him.

        Interestingly, Fattu has captured the different stratas of the society: the rich Nanda and Yashoda, the old and young women, the villagers, the dancers and muscians,  the maid servants and the wet nurse. Nanda, the village headman, is modelled after the portrait of old Emperor Shah Jahan. Thus depicting him almost as part of royalty.

        Surprisingly Fattu is influenced by the Mughal School. He in turn would influence other artists of the Kangra School. Like the Mughal miniatures of Shah Jahan's period, Fattu's male figures are individualised in their portrait. But they are stereotypes of particular class. They will be repeated throughout his work. But the women are all stylised--ever young, delicate, bejewelled. They are not individuals.

         Fattu is, thus, not only an artist, but also a sociologist of his time.