The Descent of the Holy Family from Kailasha, India, Kulu, circa 1700-29

Heeramaneck Galleries, October, 1935. 

Sherman S. Jewett Fund, 1935.

Collection of Albright-Knox Art Gallery, Buffalo.

The present painting depicts the Holy Family’s long descent from their home in Mount Kailasha to the alluvial plains. Shiva is wrapped in his tiger skin and holds his trident while conversing with an attendant, who is depicted in smaller scale, dressed in white and wearing turban. Shiva’s multi-headed son Karttikeya seated on his father’s shoulder outstretches his arm to direct the party onwards on their journey. Following behind is Nandi, Shiva’s large white bull covered in a multi-colored patchwork quilt, carrying Parvati who cradles a small Ganesha in her arms. The landscape is spare, showing only the horizon line above which is a small sliver of pink and blue sky.

Sparse backdrops were favored in the Kulu style, especially during the eighteenth century, with minimal details including a single architectural frame, a tree or a horizon line set high towards the top of the painting, as seen in the present work. Examples showing this compositional device illustrated in W.G. Archer, Indian Paintings from the Punjab Hillls: A Survey of Pahari Miniature Painting, vol. II, London, New York & Delhi, 1973, p. 247, pl. 13(vi), lend themselves to creating a vast sense of space and time and serve to bring to the frontal plane the intimate relationships between the figures. The narrative rhythm between the members of the Holy Family as they journey down the sacred mountain flows with ease guiding the eye from the extended foot of Shiva to his satchel slung over his shoulder upon which rests his son whom he tenderly holds. Shiva’s trident set at an angle and his body turned to the right, draw our attention to the loving picture of mother and son - Parvati and Ganesha – seated atop Nandi. The artist has possibly inserted himself into the picture as the diminutive guide paying his respects to Lord Shiva and his family.

Scenes of the Holy Family’s descent from Kailasha were a popular theme in Pahari painting, often characterized by the intimate moments between the family as they made the long trek down the mountain. Another Pahari painting sold at Sotheby’s New York, 16th March 2016, lot 851, highlights the mountainous terrain and physical endeavor of the excursion, capturing a loving moment as Shiva extends his hand to help Parvati, who clutches Kartikkeya in her arm, whilst descending the steep mountainside. Another example from Sotheby’s New York, 17th March 2015, lot 1174 shows the family taking a moment of pause together and sharing a drink, the parents each holding one of their sons. The present painting, unlike the other examples, is a more ethereal portrait and one which, through its simplicity and warmth, makes the Divine family human and relatable.