INDIA | MEWAR
Portrait of a Prince
Mewar
19th century
Portrait of a Prince
Mewar, 19th century
Opaque watercolor heightened with gold on paper
8 3/4 x 6 in. (22.2 x 15.2 cm.)
Provenance:
The Isaacs Gallery, Toronto.
An important collection of Indian Miniature Paintings from a Private Toronto Estate.
A Sisodian Nobleman
Mewar
18th century
A Sisodian Nobleman
Mewar, 18th century
Opaque watercolor heightened with gold on paper
Folio: 10 3/4 x 6 1/2 in. (27.3 x 16.5 cm.)
Image: 8 x 4 1/4 in. (20.3 x 10.8 cm.)
Raja Karan Singh (r. 1621-1628)
Mewar
Mid 18th century
Raja Karan Singh (r. 1621-1628)
Mewar, Mid 18th century
Opaque watercolor heightened with gold on paper
10 1/4 x 7 in. (26 x 17.8 cm.)
Provenance:
Maison Soustiel, 1983.
Exhibited:
Miniatures orientales de l’Inde, Maison Soustiel, 1983.
An Equestrian Nobleman
Mewar
19th century
An Equestrian Nobleman
Mewar, 19th century
Opaque watercolor heightened with gold on paper
10 3/4 x 8 1/2 in. (27.3 x 21.6 cm.)
A Gathering of Rishis
Mewar
Circa 1710
A Gathering of Rishis
Mewar, circa 1710
Opaque watercolors heightened with gold on paper
Folio: 10 3/8 x 15 7/8 in. (26.4 x 40.3 cm.)
Image: 9 1/8 x 14 5/8 in. (23.2 x 37.1 cm.)
Inscribed: Two lines of black ink Devanagari script in the yellow panel at top – the invocation begins: Rama / Bala / … In pothi (horizontal) format.
Semi-clad Rishis sit offering oblations before a ceremonial fire. Set against a verdigris hillside with auspicious symbols sketched on the red-brown ground below – under a brilliant red canopy supported by five posts – red pennants wave above. Celestial devas in their vehicles offer praise. At the upper right a king of the devas (probably Indra) addresses two holy men. Likely an illustrated folio from the Ramayana of Tulsidas – the Bala Kanda section. For a related folio (possibly from the same manuscript) see: Simon Ray exhibition catalog, London, 2003, cat. 43 pps. 96-97.
An Illustration to the Rasikapriya of Keshavdas
The Circle of Sahibdin
Mewar
Circa 1645
An Illustration to the Rasikapriya of Keshavdas
The Circle of Sahibdin
Rajasthan region, Mewar, circa 1645
Opaque watercolors heightened with gold on paper
Folio: 9 1/4 x 7 3/4 in. (23.5 x 19.7 cm.)
Image: 8 1/2 x 7 in. (21.6 x 17.8 cm.)
Inscribed: Three lines of black and red ink Devanagari script in the yellow-buff panel above.
A blue-skinned lord stands at the entrance to Radha’s pavilion. A deaf and night-blind doorkeeper sits at the entry with his stick. Radha is lying down. Her servant stands within a brilliant crimson-colored rectangular interior room. The entire composition compartmentalized by black lines and (principally) primary colors of red, blue and yellow juxtaposed with stark whites against a rich black exterior and green foliage. The upper story of the house with lattice windows and a jutting domed balcony. The subject of this rasa is described by Dehejia (2013) as Radha’s manifest self-endeavor.
There are numerous published examples of paintings executed in this important Mewar style of the royal atelier of Udaipur during the mid Seventeenth Century. The name Sahibdin has emerged as perhaps the most innovative and distinctive artist (and likely master) of that atelier. Several sizable series are known depicting Rasikapriya (Lovers? Breviary) and Ragamala subjects in squarish vertical format as here – as well as epic series like the Ramayana in pothi (horizontal) format. So strong was his influence that name Sahibdin has been associated with miniatures attributable to his hand – and to related works by other artists within his circle – or even by artists influenced by him. The present painting most likely produced by artists working in the circle of Sahibdin within the royal atelier.
Other mid-Seventeenth Century paintings by (or in the manner of) Sahibdin are in public and private collections worldwide. See: Dehejia, H.V., Rasikapriya: Ritikavya of Keshavdas in Ateliers of Love New Delhi, 2013, cat. 5:15, P.188. Dehejia, H.V. (ed.), A Celebration of Love, New Delhi 2005, pps. 130-133. Mason D. et al., Intimate Worlds: Indian Paintings from the Alvin O. Bellak Collection, Philadelphia, 2001, cat. 20, pps. 70-71.
A Leaf from a Panchatantra Series (or ‘Panchakhyana’ Series)
Mewar
Circa 1725
A Leaf from a Panchatantra Series (or ‘Panchakhyana’ Series)
Mewar, circa 1725
Opaque watercolor heightened with gold on paper
Image: 7 1/2 x 7 1/8 in. (19 x 18 cm.)
Folio: 13 x 10 3/8 in. (33 x 26.5 cm.)
Provenance:
Private collection.
Bonhams New York, 11 September 2012, lot 124.
Christie’s New York, 27 September 2017, lot 251.
An Equestrian Portrait of Maharana Bhim Singh of Mewar
Udaipur or Devgarh
Mid 19th century
An Equestrian Portrait of Maharana Bhim Singh of Mewar
Udaipur or Devgarh, mid 19th century
Opaque watercolor heightened with gold on paper
Image: 10 1⁄2 x 9 in.
Folio: x 11 1⁄2 x 9 7⁄8 in.
Provenance:
The collection of Robert O Muller.
Literature:
Will Heinrich, “Art: Tiny Works Full of Wonder”, New York Times, 17 August 2019.
Will Heinrich, “Art: Bold Colors from Rajasthan” in “The Week in Arts: An End to ‘The Affair’; A Lincoln Center Horror Show”, nytimes.com, 17 August 2019.
The nimbate Maharana Bhim Singh (r. 1778–1828) of Mewar rides an impressive white stallion, both rider and mount adorned regally in a display of status. Bhim Singh is shown smoking from the golden tip of a hookah carried by a bearer, partially hidden behind his horse. Three other attendants walk alongside, holding a chowrie and a round black royal standard (or changi) representing the maharana’s Mewari and Sisodian lineage, held high as a sunshade. The figural group is powerfully posed against a vigorously painted ground with stylized clouds above. A white crescent moon hovers faintly above representing their devotion to the god Shiva, whom they regularly worshipped at the shrine of Eklingji near Udaipur.
Bhim Singh, the twenty-fifth Maharana of the Me- war Kingdom, was the son of Maharana Ari Singh II and younger brother of Maharana Hamir Singh II. He became ruler at the youthful age of ten, maintaining the position for fifty years until his death. His reign was characterized by strife and uncertainty, continuously having to fend off raids from Maratha, until 1810 when he signed a treaty with the British to circumvent attacks from neighboring kingdoms and impending bankruptcy. The treaty required that the state of Mewar recognize British sovereignty, forgoing their status as an independent region and leaving the maharanas to focus on pleasures and serve as ceremonial figureheads (see Ducrot, Daljeet, & Cimino’s Four centuries of Rajput painting: Mewar, Marwar, and Dhundhar, Milan, 2009, p. 77, ME 61).
A fervent patron of the arts, Bhim Singh had numerous portraits of himself commissioned throughout his lifetime. Along with other unknown court painters, the artist Choka completed many portrayals of Bhim Singh during his time in Udaipur. As a result of this pro- liferation of portraits, depictions of the Maharana now reside in institutions across the world, making him a widely recognizable character.
Two illustrations from the Ramayana depicting Sita in Ravana’s Palace
Mewar
Early 18th century
Two illustrations from the Ramayana depicting Sita in Ravana’s Palace
Mewar, early 18th century
Gouache and gold on paper
9 ½ x 15 ¾ in. (24.1 x 40 cm.) (sight)
Provenance:
Purchased in the U.S. in 1972 and descended in the Steig family.
In the present two contiguous illustrations (numbered “99” and “100”) of the Aranyakakanda book of the great Ramayana, the demon King Ravana appears in his palace surrounded by his wives and the daughters of gods and other divine creatures he has previously captured. Before him stands Sita, the wife of Rama, who he has imprisoned. His fortress at Lanka is guarded by his animal-headed minions.
Both folios are representative of a playful style associated with the Rajput principality of Mewar. The red and yellow borders, the prominence of primary colors in the overall compositions, the execution of foliage with pointed leaves splaying out in a circular fashion from a central point; and the sharp profiles of each figure, closely match that of a folio from a dispersed manuscript depicting Rama and Lakshmana searching the forest for Sita dated to circa 1680-1690 at The Metropolitan Museum of Art (acc. 1974.148).
Two illustrations from the Ramayana depicting Sita in Ravana’s Palace
Mewar
Early 18th century
Two illustrations from the Ramayana depicting Sita in Ravana’s Palace
Mewar, early 18th century
Gouache and gold on paper
9 ½ x 15 ¾ in. (24.1 x 40 cm.) (sight)
Provenance:
Purchased in the U.S. in 1972 and descended in the Steig family.
In the present two contiguous illustrations (numbered “99” and “100”) of the Aranyakakanda book of the great Ramayana, the demon King Ravana appears in his palace surrounded by his wives and the daughters of gods and other divine creatures he has previously captured. Before him stands Sita, the wife of Rama, who he has imprisoned. His fortress at Lanka is guarded by his animal-headed minions.
Both folios are representative of a playful style associated with the Rajput principality of Mewar. The red and yellow borders, the prominence of primary colors in the overall compositions, the execution of foliage with pointed leaves splaying out in a circular fashion from a central point; and the sharp profiles of each figure, closely match that of a folio from a dispersed manuscript depicting Rama and Lakshmana searching the forest for Sita dated to circa 1680-1690 at The Metropolitan Museum of Art (acc. 1974.148).
Illustration to the Jayadeva Gita Govinda
Mewar, Udaipur
Circa 1714
Illustration to the Jayadeva Gita Govinda
Mewar, Udaipur, circa 1714
Gouache and gold on paper
9 ½ x 16 ½ in. (24.1 x 41.9 cm.)
Provenance:
Purchased in the U.S. in 1972 and descended in the Steig family.
The present painting depicts a portion of the love story between Krishna and Radha. It is likely Jayadeva, the author of the Hindu text, depicted in the lower left corner sharing it with worshippers. The verdant landscape represented here is Braja pastoral region in north central India along the Jamuna river inhabited by Krishna. A verse at the top of the folio shed some light on the scenes before us:
“May poet Jayadeva’s song
Bring joy to sensitive men.
Lord Hari,
Radha suffers in her retreat.
Gita Govinda 6.9.”
The lively composition is divided according to the principle of kaksavibhaga or ‘zonal divisions’ utilized in Sanskrit dramas; vegetation and architecture create four separate scenes in the present painting. The horizontal register of clouds atop and the style in which vegetation in the form of multiple bowers encloses two of the four scenes are both typical Mewari features.
The present painting closely resembles the style of a widely dispersed manuscript completed in 1714 in honor of Maharana Sangram Singh II of Mewar (r. 1710–34) at the Royal Ontario Museum (971.281.4). The series consists of 271 folios and the present is numbered “137.” Dr. Gusharan Sidhu has identified “144” of this series, which he gifted to the Asian Museum of Art, San Francisco (acc. 1990.217).
