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拍品专文
Scenes of the Holy Family in domestic bliss were a popular theme with Pahari painters. In these scenes, Shiva is transformed and humanized from the wild ascetic to a doting husband and father, though still retaining trappings of his divine status. In the present lot, Shiva and Parvati lock eyes and cuddle in their Himalayan abode. In costumes made of animal pelts, and a live cobra around Shiva’s neck, they feed each other from a skull-shaped cup. Their young son Kartikeya playfully climbs up Shiva’s lap, tugging his arm for attention. Young Ganesha sits beside them, in complete bliss has he snacks out of multiple jars and bowls as his rat vahana patrols the cave for crumbs to feed on. Kartikeya’s peacock is perched upon a small cave housing Shiva’s bull Nandi and Parvati’s lion tiger.
The present painting can be compared to a section of a larger portrait of the Holy Family in the collection of the Victoria and Albert Museum (acc. no. 4648C/(IS)) dated to circa 1810-1820; the present painting, however stylistically similar, is more sensuously rendered. This subject was also known to be painted by the Mandi court artist Sajnu, influencing similar renditions in the region. A painting of the subject attributed to Sajnu sold at Christie's New York, 20 March 2002, lot 146.
The present painting can be compared to a section of a larger portrait of the Holy Family in the collection of the Victoria and Albert Museum (acc. no. 4648C/(IS)) dated to circa 1810-1820; the present painting, however stylistically similar, is more sensuously rendered. This subject was also known to be painted by the Mandi court artist Sajnu, influencing similar renditions in the region. A painting of the subject attributed to Sajnu sold at Christie's New York, 20 March 2002, lot 146.