Who painted Harihara attended by Parvati and Lakshmi?

Harihara attended by Parvati and Lakshmi was painted by Unknown in 1820.

Where can I see Harihara attended by Parvati and Lakshmi?

Harihara attended by Parvati and Lakshmi is held by Victoria and Albert Museum.

What movement is Harihara attended by Parvati and Lakshmi?

Harihara attended by Parvati and Lakshmi is associated with Patna School of Painting.

Artwork

Harihara attended by Parvati and Lakshmi

Unknown , 1820

Harihara attended by Parvati and Lakshmi is a paint painting by the Patna School of Painting artist Unknown. It dates from 1820 and is held in the collection of the Victoria and Albert Museum. The work is a painted panel portraying a four‑armed deity at its centre, adorned with elaborate jewellery and a purple headdress.

About this work

Overview

The work is a painted panel portraying a four‑armed deity at its centre, adorned with elaborate jewellery and a purple headdress. On either side stand two female figures, each holding a flower and a musical instrument. The central figure displays a serene expression while clutching a fan in one hand and a lotus bud in another, set against an unadorned background.

Subject & Meaning

The central deity is identified as Harihara, a syncretic form that merges aspects of the Hindu gods Vishnu and Shiva. Accompanying him are the goddesses Parvati and Lakshmi, traditionally associated with fertility and wealth respectively, suggesting a visual representation of divine harmony and the union of complementary powers.

Technique & Style

The painting employs vivid pigments and intricate patterning, particularly in the jewellery and garments, which contrast sharply with the plain backdrop. The composition blends iconographic conventions from different regional traditions, resulting in a hybrid visual language that emphasizes both decorative richness and narrative clarity.

History & Provenance

While the exact date and origin of the panel are not recorded in the supplied data, its subject matter and stylistic synthesis point to a period when devotional art frequently combined multiple deities to appeal to diverse worshippers. The work is currently catalogued under the title "Harihara attended by Parvati and Lakshmi."

Context

Depictions of Harihara emerged in Indian art as a theological statement of unity between Shaivism and Vaishnavism. The inclusion of Parvati and Lakshmi reinforces the theme of balance among the principal divine families, reflecting a broader cultural emphasis on syncretism during the era of its creation.