Who painted Shiva, Parvati and Nandi?

Shiva, Parvati and Nandi was painted by Unknown in 1865.

Where can I see Shiva, Parvati and Nandi?

Shiva, Parvati and Nandi is held by Victoria and Albert Museum.

What movement is Shiva, Parvati and Nandi?

Shiva, Parvati and Nandi is associated with Impressionism.

Artwork

Shiva, Parvati and Nandi

Unknown , 1865

Shiva, Parvati and Nandi is a paint painting by the Impressionist artist Unknown. It dates from 1865 and is held in the collection of the Victoria and Albert Museum. Created in 1865, this work portrays the Hindu deities Shiva and Parvati astride the bull Nandi.

About this work

Overview

Created in 1865, this work portrays the Hindu deities Shiva and Parvati astride the bull Nandi. Executed in opaque watercolour and tin alloy on paper, the composition is characteristic of the Kalighat school that flourished in 19th‑century Calcutta, noted for its vivid palette and brisk brushwork.

Subject & Meaning

Shiva, shown with a trident and a small drum, rides the blue‑toned Nandi, while Parvati, adorned in a red sari, gold jewellery and a crown, sits beside him. The pairing reflects a familiar mythological scene in which the divine couple travel together, embodying themes of marital unity and divine guardianship.

Technique & Style

The artist employed opaque watercolour to achieve saturated hues, complemented by tin alloy accents that enhance the outlines. Bold contours and simplified forms typify the Kalighat aesthetic, while the intricate detailing of Parvati’s jewellery and the bull’s harness demonstrate a balance between rapid execution and careful ornamentation.

History & Provenance

The painting entered the Victoria and Albert Museum’s collection in 1955, acquired from the private holdings of Mrs. H. Wagner. Its provenance traces back to the commercial art market of colonial Calcutta, where Kalighat prints were produced for a growing urban clientele.

Context

Emerging under British colonial rule, Kalighat painting merged traditional Indian iconography with a modern, accessible visual language. Works such as this illustrate how local artists negotiated cultural identity, producing images that resonated both with native devotional practices and the tastes of a colonial audience.