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Western Brush for The Goddess Durga

Western Brush for The Goddess Durga

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Explore the fascinating journey of Kolkata’s Durga Puja through Western artists’ eyes, from Thomas Daniell’s early 19th-century landscape paintings to contemporary Irish-Indian collaborations.

As per a very popular legend, after the renowned Battle of Plassey, The Winner Robert Clive wanted to thank the almighty for his blessings. As there was not a single church in Kolkata at that time(the only one being demolished), his translator gave him the advice to do a puja of the Goddess Durga instead. Although this story lacks historical reliability, many believe it to be the origin of Kolkata’s Durga puja. But, Maa Durga and her festival did not remain confined just to a religious act; rather, with time, they have become the subject of interest for a large number of Western artists. Let us see what the Western eyes have seen.

One of the earliest portrayals of Maa Durga and her festival was crafted by Thomas Daniell, a renowned British painter who came to India with his nephew, seeking money and fame.

In 1810, Daniell captured the moment of Goddess Durga’s visarjan in the Bhagirathi River in his artwork. Renowned for his landscape paintings, he blended the stunning scenery of the river with the ritual. This painting remains one of the few artistic works showcasing the centuries-old religious custom from a Western perspective.

But, not every artist’s reason for coming to India was money or fame. For Stefan Norblin, it was safety. Norblin, a Polish artist, had to leave his country with his wife after Germany invaded Poland in 1939. They lived in British India for six years, from 1941 to 1946. During this time, Norblin designed the interiors of many Indian kings’ palaces and decorated them with his paintings.

Stefan Norblin paintings of goddess Durga. Picture sources BBC
Stefan Norblin paintings of goddess Durga. Picture sources BBC

He gained fame for his illustrations of Hindu deities and his paintings depicting entire scenes from the Hindu epics, the Mahabharata, and the Ramayana. Among these, one of the most remarkable was his Art Deco rendition of Maa Durga. This painting exemplifies the Goddess in her fierce Mahishasura Mardini form. The fusion of Western modernism and Indian mythology still holds its place as a unique piece of art that coveys Durga’s divine feminine power.

Besides the portrait of the Goddess, it was evident that Western artists were also very keen on the religious practices of the festival—particularly the visrjaan(the immersion of the Goddess).

Thomas Daniell's version of Durga
Thomas Daniell’s version of Durga

George Gidley Palmer, a British painter, preserved the moment of Maa Durga’s immersion into the Hugli River. Unlike Daniell, Palmer’s main focus was on the custom rather than the landscape.

George Gidley . Durga puja being celebrated across river hooghly 1875 . Sources tumblr.com
George Gidley . Durga puja being celebrated across river hooghly 1875 . Sources tumblr.com

The crowd of devotes and grand procession on the River Hugli, reflected by Palmer’s dynamic colours and minute details, makes this canvas a remarkable example of a colonial perspective on this celebration. This painting, quite brilliantly, captures the deep emotional moment of Maa Durga’s journey back to heaven.

On the other hand, there were artists too who were fascinated by the social and cultural norms and traditions of this splendid festival.

William Prinsep, a descendant of the famous Prinsep family, was a well-known businessman and artist in colonial Calcutta. Sonal, a historian specializing in colonial India, has written that William Prinsep was deeply fascinated by the local life of Indian people and the glamour of the city of Calcutta.

William Prinsep's Durga Painting
William Prinsep’s Durga Painting

This fascination, Coupled with his passion for painting gave birth to one of the most iconic watercolour paintings of Durga Puja by a Western artist. His painting depicted a large open courtyard, crowded with Zamindars, Englishmen, and poor locals.

This watercolour, executed between 1830 and 1840, was titled ‘Europeans Being Entertained by Dancers and Musicians in a Splendid Indian House in Calcutta During Durga Puja.’ The painting is regarded as one of Prinsep’s finest watercolour works, highlighting his greater fascination with the cultural characteristic of the festival rather than its religious aspect, which contrasts with the interest of most other painters.

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Ipsita Biswas

As one reads these stories, a question may arise.

Has this culturally deep-rooted, historically significant, and artistically enriched festival stopped attracting the artistic souls of the West? The answer is a simple “No.” Its profound influence has, perhaps, permeated every aspect of this vast country, from religion and culture to art, economy, and even international politics.

For the past few months, the Irish Embassy in Delhi, in collaboration with Indian partners, has been planning a project to celebrate the 75 years of diplomatic relations between India and Ireland. It has been decided that this celebration will occur during Durga Puja in Kolkata.

Lisa Sweeney and Richard Babington, two artists from Ireland, have come to the City of Joy to collaborate with Sanjib Saha in honouring Goddess Danu (Ireland’s Mother Goddess, who also represents nature) and Maa Durga. This partnership between two countries, two Goddesses, and two artistic philosophies is unfolding at Behala Nutan Dal in Kolkata.

It is undeniable that from the colonial period to the present, this festival has continued to captivate many Western eyes and inspire numerous hands to pick up their brushes in depicting Maa Durga and her festival—arguably signifying this Festival much more than just a Puja.

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