Indian antiquities find a pride of place at the V&A (Victoria and Albert Museum), from textiles and jewels, to art. The Hindu gods have prime display and are charming in their artistic depictions.
A not often seen series on the Krishna-Sudama theme, was also on view in the form of Pahari paintings. The strange bond between the pauper and the almighty is beautifully painted - emotion seeps out of the pale colours, touching the heart. Opaque watercolours on paper with touches of gold, these delicate renditions bring to life the eternal appeal of the Krishna legends. A few paintings highlight Radha’s attachment to Krishna, giving yet another dimension to a very human deity.
In one of the paintings, at Sudama’s hovel, sit the beleaguered couple on the verge of starvation. Sudama’s wife is trying to persuade him to go to Krishna for help. Initially reluctant, he attempts to shut out her imploring by closing his ears, but finally gives in. Abject poverty is conveyed by the broken tools lying around along with the unused and scattered cow dung cakes, meant for fuel.
The road to Krishna sees Sudama, in tatters, walking wearily to Dwaraka. He sees the golden palace of Krishna in the distance and cannot stop marvelling at its splendour. Beyond the green rolling hills lie the sea, crocodiles and the sea monsters swimming about.
Sudama reaches the palace and his humble embarrassment is put at ease by the loving Krishna. He perceives his friend’s true affection and his dire straits. The boyhood friends revel in their reunion. Krishna showers affectionate care on Sudama, by massaging his tired legs. A full moon beams down on the courtyard and is reflected in the pond. Maidens sing, serenading Krishna, lulling him to slumber in another portrayal, while in a farther picture Krishna is seen talking with someone. The motifs on fabric blinds and awnings seem contemporary and reinforce the weaves of the region.
Krishna and Radha make a timeless pair. Krishna arrives at Radha’s home and the couple retire to the bed-chamber. A young moon shows the time of night. This is from a set of dispersed illustrations of Sur Sagar by Surdas, the great Krishna devotee. Done in 1665-70 in the royal court of Mewar under the artist Manohar, the opaque watercolour on paper glows with a beauty of its own.
The gods take on the role of Rajput royalty, in this paper watercolour from Jaipur, done around 1800. Seated on the terrace, they are surrounded by female attendants and musicians, with Radha also playing the veena for Krishna’s listening pleasure. A western style perspective has been adopted by the painter, in the receding landscape and architecture portrayal. Holi in Pahari art is very lively and colourful. Krishna and Radha, four gopis and four cowherd boys make up the numbers here, all revelling in the festival. Red colour powder from a sack in the foreground is happily scattered on all and yellow coloured water is being filled in bamboo sprayers from a big grey bowl.
Music makes the ambience merry. Done in the Nurpur style around 1775, here Krishna is with his bosom friends, his childhood relived most joyously.
The paintings add to the eternity of Hindu lore, far from India and well-treasured.
