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Lot Essay
The urmukhi inscription on the reverse translates: When he spoke to them about their religion of loyalty (fidelity), he himself started for the Jaimuna. Then the gopis were put to shame and learned that he was a great ascetic.
In his publication of this painting Archer defines the fifth Bhagavata Purana series whose paintings are dispersed in a number of collections. These include eight in the Victoria and Albert Museum as well as others at that time in the Archer Collection (see also W.G. Archer, Visions of Courtly India, London and New York, 1976, no. 8, p. 15 and W.G. Archer and Edwin Binney 3rd, Rajput Miniatures from the Collection of Edwin Binney 3rd, Portland 1968, nos.55a and 55b, pp.74-5 for three very similar compositions each representing a different stage in the same story).
In both his 1973 publication of this painting, and the 1976 publication of a very similar example, Archer makes suggestions about the artist responsible for much of the series. The compositions of a number of paintings are clearly modelled on those of the artist Manaku in the 1735 Gita Govinda series. Archer suggests that the painter is Fattu, Manaku's son and therefore also Nainsukh's nephew, who went on later to make his name at Kangra (see also lot 54). Whether one follows Archer or Goswamy in defining Nainsukh's main patron, the artist is known to have moved around 1763 to Basohli and it is almost certain that his advent would have had a strong influence on the work of other members of his family.
In his publication of this painting Archer defines the fifth Bhagavata Purana series whose paintings are dispersed in a number of collections. These include eight in the Victoria and Albert Museum as well as others at that time in the Archer Collection (see also W.G. Archer, Visions of Courtly India, London and New York, 1976, no. 8, p. 15 and W.G. Archer and Edwin Binney 3rd, Rajput Miniatures from the Collection of Edwin Binney 3rd, Portland 1968, nos.55a and 55b, pp.74-5 for three very similar compositions each representing a different stage in the same story).
In both his 1973 publication of this painting, and the 1976 publication of a very similar example, Archer makes suggestions about the artist responsible for much of the series. The compositions of a number of paintings are clearly modelled on those of the artist Manaku in the 1735 Gita Govinda series. Archer suggests that the painter is Fattu, Manaku's son and therefore also Nainsukh's nephew, who went on later to make his name at Kangra (see also lot 54). Whether one follows Archer or Goswamy in defining Nainsukh's main patron, the artist is known to have moved around 1763 to Basohli and it is almost certain that his advent would have had a strong influence on the work of other members of his family.