Page 133 - September 20th 2021, Indian and Himalayan Art Christie's NYC

A FOLIO FROM THE 'TEHRI GARHWAL' GITA GOVINDA

The present folio represents an emotional scene from the Gita and expert blending of the Basolhi and Guler schools of painting.
Govinda, or “Song of the Herdsman,” a lyrical poem by the The second, from which this folio derives, was painted by a master
twelfth-century East Indian poet Jayadeva. Filled with luminous of the generation of sons of Manaku and his brother Nainsukh
descriptions of the divine, and at times fraught love between (1710-1778). The so-called 'Tehri Garhwal' series circa 1775, is
Krishna and Radha, the Gita Govinda had a tremendous impact an over 140-page series celebrated for its rich and complex
on Vaishnav doctrine throughout North and South India, seminal delineations of emotions and expert execution. This large set was
in the development of the bhakti movement of Hinduism, which greatly influential in the development of the third series completed
advocated direct and sincere devotion to a deity, rather than in 1820, the so-called ‘Lambagraon’ series attributed to the master
referring to a Brahmin as an intercessor. The lyrical epic became Purkhu (active c. 1780-c.1820), circa 1820.
especially popular in North India, where it became a beloved
subject in Rajput and Pahari painting workshops. Divided into The ‘Tehri Garhwal’ series, variously referred to as the ‘First
12 sargos, or cantos, of mixed length, the narrative is filled with Kangra Gita Govinda’ or the ‘Second Gita Govinda,’ is considered
visual metaphors and hyperbole likening earthly seduction and by most scholars to be the finest Gita Govinda series. M.S.
divine union. Randhawa remarks, “one of the noblest creations of the Kangra
artists, this painting is a poem in form and colour, suffused
For such enduring imagery, the Gita Govinda, was favored among with the aroma of love, which is so characteristic of the song of
painters and patrons in the Pahari Hills. Three notable Gita Jayadeva. Undoubtedly, it is one of the most beautiful of the Gita
Govinda series from the region have resonated with scholars and Govinda series” (M.S. Randhawa, Kangra Paintings of the Gita
collectors to this day. The first, circa 1730, is a boldly illustrated Govinda, New Delhi, 1963, p.70; the verso of the present painting
150-folio set by the Guler Master Manaku (c. 1700-1760) in the bears the initials “MSR,” a trademark Randhawa used to mark
Basohli style, admired for its evocative colors, rich ornamentation, paintings he found important).

An Illustration from the ‘Tehri Garhwal’ Gita Govinda: Waiting for her in ‘Love’s Sacred Thicket’; India, Pahari Hills,
Kangra, Master of the first generation after Manaku and Nainsukh, circa 1775-1780; 6 ¾ x 10 5/8 in. (17.2 x 27.1 cm);
The San Diego Museum of Art, Edwin Binney 3rd Collection, 1990.1270.