Nainsukh reels in 18th century Pahari painter’s life

In Haridwar,when they immerse the ashes of the departed,they immerse a tiny piece of gold as a tribute along with it. “There are professionals who dive and look for those pieces of gold at the bottom. They are like art historians,diving at the appropriate moment to pick that invaluable nugget of gold. Nainsukh was one such priceless gem of Indian art,” eminent art historian,Prof B N Goswamy’s opening lines at the film screening of the film Nainsukh,gives a glimpse into the world of this artist.

Directed by Amit Dutta (whose absence was missed),Nainsukh has been dedicated to Goswamy for his sheer love and extensive work on the painter. It was screened at the Government Museum Sector 10 in association with the Chandigarh Lalit Kala Academy and Pro Helvetia Swiss Arts Council on Friday evening. Based on the life of the great 18th century Pahari painter Nainsukh from Guler,Kangra District,Himachal Pradesh,the film pulls the viewer into his world as a major artist at the court of Jasrota (J&K). Quoting the poet Mir,Goswamy cautions the viewers,“Breathe gently,softly,because the world you enter is made of glass. It’s brittle,fragile and therefore,tread into it carefully. You are entering a very understated,subtle world. One has to view it aesthetically,with patience for Nainsukh’s work doesn’t grab you by throat. It grows on you and if you let him enter your consciousness,he’ll flow in you,” says the professor,who has been ‘possessed’ ever since he saw Nainsukh’s work. Till today,adds the professor,Nainsukh remains one of the greatest painters and he was one of the Indian painters whose fame travelled far in 18th century.

“There are no shadows in a Nainsukh painting. It’s what we call the balcony view in the world of art which most Indian artists paint,inspired from the Mughal era,” says Dr Eberhard Fischer,a Swiss art anthropologist. Also screened at the Venice Film Festival in 2010,Nainsukh has become part of Goswamy,more so after he came across the Guler Bahi in Haridwar which had information on the artist penned by himself.

“As I turned the pages of Nainsukh’s family pandit’s Guler Bahi,there it was,in his beautiful calligraphy,his name,his family and a painting of Shiv Parvati and Bhagirathi. This is precise authentic information you cannot challenge,and it became a fulcrum in going back and forth in the life of Nainsukh,” says Goswamy. Inspired from inscriptions and paintings,the film begins,linking the story through Nainsukh’s works while Goswamy leaves us with a thought,“Like Kenneth Clark said about Leonardo Da Vinci’s work – it’s breathed upon paper,doesn’t seem to be drawn. That’s Nainsukh,sense it,savour it.”