Page 102 - 2021 March 17th, Indian and Himalayan and Southeast Asian Art, Christie's New York City

A ‘Lambagraon‘ Gita Govinda Folio

The present folio represents a tender scene from the Gita Govinda, or “Song distinguished and individualized portraits within his works, often noted for
of the Herdsman,” a lyrical poem by the twelfth-century East Indian poet veering towards journalistic goals over idealized or fantastical qualities. His
Jayadeva. Filled with erotic imagery and luminous descriptions of the divine works documenting the public and private life of Sansar Chand are thus
love between Krishna and Radha, the Gita Govinda was quickly woven into unsurprisingly rigorous in their attention to detail, and one can assume,
Vaishnav doctrine throughout North and South India. The lyrical epic became loyalty to accuracy. Notwithstanding, Purkhu’s works on religious themes
especially popular in North India, where it became a beloved subject in Rajput have proved his capability for innovation and passion, creating large series on
and Pahari painting workshops. Divided into 12 sargos, or cantos, of mixed the Harivamsa, Shiva Purana, Ramayana, Kedara Kalpa, and of course, the Gita
length, the narrative is filled with visual metaphors and hyperbole likening Govinda. His illustrations for the present Gita Govinda series showcase his
earthly seduction and divine union. otherwise unseen gift for conveying the moods of lust, longing, and seduction,
so integral to the work. More so, the artist invented an idyllic landscape, a lush
For such enduring imagery, the Gita Govinda, was favored among painters and moonlight-drenched forest, which so perfectly encapsulates the privacy of
patrons in the Pahari Hills. Three notable Gita Govinda series from the region each moment. For further biography on Purkhu and discussion of his works,
have resonated with scholars and collectors to this day. The first, circa 1730, see B.N. Goswamy and E. Fischer, Pahari Masters, New Delhi, 2009 (reprint),
is a boldly illustrated 150-folio set by the Guler Master Manaku (c. 1700-1760) pp. 368-387.
in the Basohli style, admired for its evocative colors, rich ornamentation, and
expert blending of the Basolhi and Guler schools of painting. The second, The present leaf, numbered 40, accompanies verses from the twelfth and
the so-called 'Tehri Garhwal' series circa 1775, is an over 140 page series final sargos. Following Krishna’s endless bouts of faithlessness with the gopis,
attributed to a Master of the First Generation after Nainsukh and Manaku at or local milkmaids, Radha finally returns to her beloved. Krishna, willingly
Guler or Kangra. Celebrated for its rich and complex delineations of emotion repentant and long awaiting her trust, yields to her every will. Their final
and expert execution, this large set is believed to have influenced the artist of reunion acts as a metaphor for the individuals absolute oneness with the
the third notable series, the so-called 'Lambagraon' series. Completed circa divine, a lust and longing which reveals an incessant yearning for the Supreme
1820, the 'Lambagraon' series from which the present lot belongs, comprises Self, when one has become endowed with the Lord. The accompanying verses
an estimated forty-eight pages attributed to the Kangra court artist Purkhu describe Radha’s readiness for the return of her lover:
(active c. 1780-c.1820). The comparably small series is widely praised for its
lush depictions of nature and sultry eroticism. In a sign of passion, as their love-battle began, she went impulsively
for victory and somehow came out on top – hips still, arm (previously
Owing to the patronage of Maharaja Sansar Chand (r. 1775-1823) and the a clinging vine) slackened, chest pounding, eyes closed – how can
artistic direction of Purkhu, Kangra is remembered as a great center of women succeed in a show of masculinity?
Pahari miniature painting. A skilled portrait artist, Purkhu is lauded for his
They were thwarted at every turn: their embraces by the hair bristling
between them, the flirting of their eyes by a blink, the sipping of lip-
nectar by their own repartee, even the contest of love’s arts by the
arrival of bliss. So began their long-due love making which spurred
itself on.
Her braid swaying with straightened lotuses, cheek glistening with
sweat, the radiant berry of her lower lip bruised, pearl necklace
outshone by the luster of full breasts, her girdle glistening— all of
a sudden, covering her breasts and her lap with her hand, a frozen
lightning bolt, just then this girl with her disheveled garland trembled.

Isolated in the thick of the forest, the twilight dramatically illuminates the
couple upon a bed of leaves. Krishna sensitively lifts Radha’s downturned gaze,
so their eyes might meet. The artist captures an acute sense of anticipation
from both Radha, with a coy smile, and Krishna with a determined lust as he
entreats her to make love. Their opulent adornments are heightened with gold
leaf, while their garments rustle in the leaves. Two gopis whom Krishna had
previously engaged with in romantic trysts, whisper about the young couple
from a distance, after working tirelessly to persuade Radha to allow Krishna’s
return. In an earlier, daylight scene from the same series, now at the Cleveland
Sakhi Persuades Radha to Meet Krishna, from the Lambagraon Gita Govinda series;
Cleveland Museum of Art, Bequest of Mrs. Severance A. Millikin 1989.334.