Shiva and Parvati on a tiger skin: Anakūl Nayaka folio from a Rasamanjari

Detail of a pattern
Image 1 of 1
Download Image IIIF

Terms of Use

Creative Commons

At A Glance

  • Period

    ca. 1710 - ca. 1715
  • Geography

    Nurpur, Himachal Pradesh state, India
  • Material

    Opaque watercolor and gold on paper
  • Dimension

    H x W (painting): 16.9 × 27.3 cm (6 5/8 × 10 3/4 in)
  • Accession Number

    S2018.1.13
  • EDAN ID

    edanmdm:fsg_S2018.1.13

Object Details

  • Artist

    Attributed to Golu, son of Devidasa
  • School/Tradition

    Nurpur school
  • Description

    Close to the image are two thin black lines framing the image. Against a red background, on the left, Shiva walks with Parvati past a large tree. On the right, the couple lie down on a tiger skin. Yellow border.
  • Inscriptions

    Verso: takri number 1; in takri “anakūla=favorable, compatible, agreeable”
  • Label

    Invoking the blessings of Shiva, this is the opening page of the Rasamanjari series of c. 1710-15, which was painted at the workshop of Golu, an artist of Nurpur, in the first quarter of the eighteenth century. The Rasamanjari (Bouquet of Rasa) is a poetic classification of lovers (nayakas and nayikas) and love situations. Composed ca. 1500 by Maithili Brahmin Bhanudatta, probably in Ahmednagar, Deccan, its Sanskrit verses had a significant impact on Hindu court painting and the development of the Hindi literary tradition (ritikal).
    Shiva is personified here as the anakūl nayaka or the lover devoted solely to his beloved, here, his wife Parvati. Bhanudatta's verse relates the tender actions of a smitten lover:
    "He [Shiva] looks at the uneven ground, first hesitates, [then] extends his foot. Roaming about in the forest, he plucks wild flowers with his raised right hand. Relaxed in the comfort of his bed [covered with] a tiger's pelt, he presses his beloved to his body's side. In this manner Shiva fully enjoys the pleasure and causes Parvati's side to gracefully tremble."
    The divine couple appears twice in the painting, once standing near a large tree picking flowers and again lying down on a tiger skin. Concerned and caring, Shiva takes on himself whatever involves effort and fatigue. He puts his right step forward to check the uneven ground for Parvati and sleeps with the weight of his body to the right.
  • Provenance

    Collection of the Raja of Lambragaon, Himachal Pradesh, India.
    To 1967
    Sona Gallery, New York, New York. [1]
    From 1967 to 2001
    Ralph Benkaim (1914-2001), Beverly Hills, California, purchased from Sona Gallery in New York City in June, 1967. [2]
    From 2001 to 2018
    Catherine Glynn Benkaim, Beverly Hills, California, by inheritance from Ralph Benkaim in 2001. [3]
    From 2018
    Arthur M. Sackler Gallery, partial gift and purchase from Catherine Glynn Benkaim. [4]
    Notes:
    [1] Ralph Benkaim purchased the painting in 1967 from Sona Gallery in New York City, several years before Indian paintings were classified as antiquities by the Indian government, according to his personal records via Catherine Glynn Benkaim. Sona Gallery did not produce a publication.
    [2] See note 1.
    [3] See Acquisition Consideration Form, object file, Collections Management Office.
    [4] See note 3.
  • Collection

    National Museum of Asian Art Collection
  • Exhibition History

    Wonder of the Age: Painters of India (September 28, 2011 to January 8, 2012)
    Masters of Indian Painting (April 28, 2011 to January 8, 2012)
    Gods and Demons (2000 to 2001)
    Painting in the Punjab Hills (1999-2000)
    Selections for the Opening of The Florence and Herbert Irving Galleries (1994)
    Art of the Indian Subcontinent from Los Angeles Collections (March 4 to March 31, 1968)
  • Previous custodian or owner

    Raja of Lambagraon
    Sona Gallery (American)
    Ralph and Catherine Benkaim
    Catherine Glynn Benkaim
  • Origin

    Nurpur, Himachal Pradesh state, India
  • Credit Line

    Purchase and partial gift from the Catherine and Ralph Benkaim Collection — funds provided by the Friends of the National Museum of Asian Art
  • Type

    Painting
  • Restrictions and Rights

    CC0 - Creative Commons (CC0 1.0)

    This image is in the public domain (free of copyright restrictions). You can copy, modify, and distribute this work without contacting the Smithsonian. For more information, visit the Smithsonian's Terms of Use page.

    The information presented on this website may be revised and updated at any time as ongoing research progresses or as otherwise warranted. Pending any such revisions and updates, information on this site may be incomplete or inaccurate or may contain typographical errors. Neither the Smithsonian nor its regents, officers, employees, or agents make any representations about the accuracy, reliability, completeness, or timeliness of the information on the site. Use this site and the information provided on it subject to your own judgment. The National Museum of Asian Art welcomes information that would augment or clarify the ownership history of objects in their collections.

Keep Exploring