Who painted Shiva, Parvati and Nandi?

Shiva, Parvati and Nandi was painted by Unknown in 1850.

Where can I see Shiva, Parvati and Nandi?

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

Artwork

Shiva, Parvati and Nandi

Shiva, Parvati and Nandi is a paint painting by Unknown. It dates from 1850 and is held in the collection of the Victoria and Albert Museum. The work presents a Hindu trio—Shiva, his consort Parvati, and the bull Nandi—arranged within a stylised mountainous setting.

About this work

Overview

Rendered with opaque watercolour and gold on paper, the composition balances vivid pigments with strong contour lines, creating a striking visual impact.

The work presents a Hindu trio—Shiva, his consort Parvati, and the bull Nandi—arranged within a stylised mountainous setting. Rendered with opaque watercolour and gold on paper, the composition balances vivid pigments with strong contour lines, creating a striking visual impact. The scene is anchored by a large tree under which the deities are seated, surrounded by dense foliage and distant architectural elements.

Subject & Meaning

Shiva and Parvati are depicted in a tranquil pose, suggesting divine harmony and marital unity, while Nandi, the sacred bull, stands as their attendant. The inclusion of a white elephant and an arched building in the background hints at royal or ceremonial contexts, reinforcing the deities' association with protection, fertility, and cosmic order within Hindu tradition.

Technique & Style

The artist employed opaque watercolour combined with gold leaf, allowing saturated hues to emerge against a luminous ground. Bold outlines define the figures and foliage, while the compact leaf clusters convey a sense of abundance. The use of gold accentuates the divine aura of the subjects, and the overall flatness reflects a decorative aesthetic common in 19th‑century Indian manuscript painting.

History & Provenance

Created circa 1850, the painting was originally catalogued as RP 51/2237 within the Department of Engraving, Illustration & Design. It was later transferred to the museum’s painting collection, where it remains documented as an example of mid‑nineteenth‑century devotional art produced for private or temple patronage.

Context

The work belongs to a period when Indian artists frequently blended traditional iconography with materials such as watercolour and gold to meet both local devotional needs and the tastes of colonial collectors. Its mountainous backdrop and architectural motifs echo the visual language of regional courtly paintings, situating the divine narrative within a recognizable earthly landscape.