Khishina is depicted as Shri Nathji and his image is presented in a typical stiff frontal pose. The stance, with blue upraised arm, a single blossom held in his hand. His right arm is bent, hand clasping a full blown lotus. His turban and torso are covered with garlands and long strands of pearls, bracelets and anklets. He stands on on a footed stand before a rose striped stele. The upraised arm symbolizes Shrinathji lifting Mount Govardhana to protect the residents of Rindayan from Indra’s destructive rains. The central image is flanked by devotees, one carrying a lamp, the other holding a whisk .The figures of the devotees are exact in detail , both physiognomical and ornamental. The priest at left faces the central image, performing arati (ritual devotion) with a lamp of five flames held before him. He wears a saffron yellow dhoti and scarf, has Vaishnava tilak marks on his face and is embellished with strings pearls, armbands and bangles. The male figure on the right , more simply adorned ,
holds an ornate whisk. The painting combines Europeanized elements and style with typical Kota treatment.* “ Shri Nathaji carries a twofold meaning: Natha is the name of the husband of Shri (Lakshmi), as well as the Lord (Natha) of the town Nathadwara, a renown Vaishnava pilgrimage center.”.
REFERENCE * Poster, Amy G., Realms of Heroism, Indian Paintings at the Brooklyn Museum, Hudson Hills Press, New York, page 179)
Ithaca College Museum of Art Ithaca, New York, 1971
Lycoming College Gallery, Williamsport Pennsylvania, 1981
Collection of James E. Bogle, Philadelphia
Acquired August 1970 from Emporium D’Art & Craft, Red Fort,
Old Delhi, India