The Svadhinapatika Nayika (One Whose Husband is Completely Devoted to Her) – Kangra Art

“He takes care of your pettiest affairs, and protects you like betel-leaves kept in the basket and resides in your as the image dwells in the mirror. He runs after the chariot of your desires like the water of the Ganga, which followed in meandering motion the charior of Bhagiratha. Your words are like scriptures to him. It is, therefore, absurd to try to dissuade him from doing all this even for the sake of saving him from calumny.”

Krishna paints Radha’s toenails red, The Svadhinapatika nayika from a Rasikapriya series, ca 1800. Kangra, India. Opaque pigments with gold and silver on paper

Another post on Indian miniature paintings and another nayika or heroine! This time the nayika in question is the Svadhinapatika nayika or; the one whose husband is completely devoted to her. In my previous posts about the Indian miniatures I have written about the unfortunate heroines who are either waiting for their lover in the forest, that is the Utka nayika, or the heroines who are going out into the dark stormy night to meet their beloved and that is the Abhisarika nayika. Now, at last, we have a very lucky nayika indeed; her beloved cherishes her and fulfils all that her heart desires. As is nearly always the case with these nayika-nayaka paintings, the lovers, the hero and the heroine, are portrayed in the form of Radha and Krishna and we see this in the two examples of Kangra and Guler watercolours from the early nineteenth century. In both paintings the same scene is taking place; beautiful Radha, dressed sumptuously in either purple or white, is sitting down comfortably and looking down at Krishna, dressed in his typical saffron yellow attire, who is kneeling down and painting her feet. This gesture shows his devotion and indicates of his willingness to fulfull her every desire and “take care of her pettiest affairs”. This shows an obedience of sorts as well, but there is nothing humiliating about it, for it is Radha’s love and devotion that inspire the same in him.

Or, as Radha’s friend, shown in the painting gesturing to Radha, says: “O Radha! Krishna is the life-giver of Vraja and a darling of Brahma; and goddesses, demon-women, Surya and Lakshmi are never tired of singing his praises. And you, only a mean little cow-girl, have your feet cleaned by him and he, the Lord of the Universe, is constantly clinging to you like your shadow. He takes care of your pettiest affairs, and protects you like betel-leaves kept in the basket and resides in your as the image dwells in the mirror. He runs after the chariot of your desires like the water of the Ganga, which followed in meandering motion the charior of Bhagiratha. Your words are like scriptures to him. It is, therefore, absurd to try to dissuade him from doing all this even for the sake of saving him from calumny.”

As much as I enjoy the motif of the painting and as much as I envy the happy nayika, I must say that I don’t particularly like the architectural setting. I much prefer the natural setting, the forest grove or a river with lotus, that we seen in the majority of Kangra paintings, painted in those mesmerising shades of green and blue. Though, I understand that the setting suits the scene as there are certain objects that Krishna needs to paint Radha’s feet and a palm leaved bed in the middle of the forest just wouldn’t be the most practical choice of setting. Still, nature does appears here and there; in the treetops in the painting above and bellow in the palm leaves and the tiny flowers on branches. Also, there is a caged bird in both paintings. I do love the complementary colour of Krishna’s yellow attire and Radha’s purple in the painting above.

Svadhinapatika nayika, c. 1810, Guler