‘The departure of Nanda with his families to pastures at Vrindavan’ is part of the larger Guler Bhagavata Purana artwork series, which deals with the Tenth Book of the Bhagavata Purana and might have been among the early works of Fattu, grandson of Pandit Seu of Guler (Goswamy & Fischer, 1992). After his father Manaku's death, Fattu seems to have joined his uncle Nainsukh at Basohli (Goswamy & Fischer, 2011), even leaning more toward his uncle's style than his father’s. The entire lineage of Pandit Seu of Guler, including his sons, Manaku and Nainsukh, as well as their own children and grandchildren, seem to have maintained strong ties with each other, synthesising a strong family art style and collaborating on projects together, as seen with artworks being attributed to both Fattu and Nainsukh. This particular artwork (29.2 x 41.5 cm) depicts a procession traversing a stretch of sandy plains. The composition focuses on two large, canopied carts: one carries Nanda, and the other carries Yashoda, Rohini, Krishna, and Balarama on their laps. Surrounding them are their subjects, carrying an assortment of belongings. A herd of cattle surrounds them, potentially indicating a pastoral livelihood. The artwork utilises delicate brushwork, blending the Pahari tradition with Mughal naturalism. The intricate detailing creates a vibrant, bustling atmosphere. Green, red, and yellow hues dominate the picture, standing out against the muted earth tones of the landscape. The background itself depicts a sandy coloured terrain, with a wash of blue at the top to indicate the sky, which almost blends into the ground, creating a horizon that creates the illusion that they have a long distance to traverse. Despite the vivid flat planes of colour, the work is enhanced through its use of naturalism and its landscape. The background becomes a fully integrated aspect of the story in which the narrative plays out. Nainsukh’s influence on Fattu can be seen in the utilisation of his stylistic bird’s-eye viewpoint (Losty, 2011). The change in this particular art style is noticed after the 1720s, when artists began controlling the extravagances in their art, creating calmer, subtler works. The influence of the Mughal style in Pandit Seu’s art seems to have trickled down into the family and the region of Guler, which became a centre of this artistic tradition. The art style is defined by its fluent naturalism and the grace in its subjects. These artworks are often called ‘Early Kangra’ as they lead directly into the succeeding Kangra style (Losty, 2011).
The departure of Nanda and his family towards Vrindavan unfolds as a vibrant portrayal of migration, community, and pastoral life. Two elaborately canopied carts occupy the compositional centre, carrying the principal figures, while an animated procession of attendants, women, children, and cattle moves alongside them. The varied postures and individualised expressions lend the gathering a remarkable sense of movement and human presence. The artist’s delicate brushwork, refined contours, and measured use of colour reveal the synthesis of Mughal naturalism and the emerging Pahari idiom. Against the expansive ochre landscape, the vivid reds, greens, and yellows animate the scene without disturbing its compositional harmony. More than a narrative episode, the painting evokes a collective journey, transforming a moment from the Bhagavata Purana into an intimate vision of familial devotion and pastoral existence.
