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Rita Dixit Indian Miniatures Gods and Gardens: Divinity, Magic and Faith

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Rita Dixit Indian Miniatures Gods and Gardens: Divinity, Magic and Faith Rita Dixit Indian Miniatures Gods and Gardens: Divinity, Magic and Faith CONTACT FURTHER INFORMATION Rita Dixit Business Address Phone +44 (0)771 325 4677 By appointment only – Noting Hill, Email: [email protected] London W2. Gods And Gardens: Acknowledgement Divinit, Magic And Faith Dear Enthusiast, For my fiends I present my frst catalogue around the theme For those present and those in spirit of Gods and Gardens. I exhibit virtually artworks on three themes; the cosmic The hymns of the Vedas evoke an ever-present landscape of the Gods (India’s great legends), theme – religious awe of nature, scenery, tees the sacred spaces of forests and groves and and water: gardens in poety and design. In doing so, I hope to convey to you the wonderful breadth May Peace radiate in the whole sky in of stles and periods that is the The vast ethereal space, Indian miniature. May peace reign all over this earth, in water, In all herbs and the forests, A sentiment so eloquently expressed by the May peace fow over the whole universe, artist and collector Alice Bonner. “The most May peace be in the Supreme Being, perfectly formed Indian miniature contains the May peace exist in all creation, and peace quintessence of an entire world in an area no bigger alone, than the human hand. And if not an entire world, May peace fow into us. then at least a certain aspect of its mysterious, Aum- peace, peace, peace! hidden meaning….It is an inexhaustible fount of revelations, which gradually unfold fom the thoughts captured in the image. This is what makes Yajur Veda Samhita (36:17) the miniature so valuable, more valuable than the outstanding technique, the colours and the gold with which it is executed”. Diaries 1956. (Dialogues on Alice Bonner, International Symposium, Museum Rietberg, Zurich, 2018). Rita Dixit Hindusim and Nature – Nanditha Krishan Indian Miniatures Penguin, Random House, India 2017 London, October 2020 2 3 Landscape Of The Gods Email: r. [email protected] Churning Of The Ocean: A Spiritual Quest Demons, Mandara Mountain is used as the ultimate gif of self-realisation (the Amrit). Airavata’s tunk is shown wrapped around 1 churn and Snake Vasuki is used as the rope. the Kalpavriksha tee, a refection of their Gouache with gold on paper When the Amrit appears the Gods and Demons In this painting, the sofness of the palete, (a association with Indra. For Indra, goes on Size: 24cm x 18cm (image); go on to fght over its possession. Afer, many legacy of the Guler stle) gives it an ethereal, to plant the tee in the heavenly garden of 30cm x 23cm (folio) adventures, it is fnally consumed by the dream-like qualit, very apt for the celestial Paradise. In the scriptures, it is described as Gods. This is a well-known story of a mythical seting. The Gods are painted with a serene having gold roots, coral leaves and gemstone Kangra, India landscape that existed before creation, potent delicacy with an energy emanating fom the buds. Its earthly counterpart is likely to be the circa 1850 imagery that endures in art. grey swirls of the ocean as it foths. Vishnu Indian Coral Tree Erythrina variegate. is shown resplendent in his lotus seat upon This exquisitely detailed painting captures Allegorically, the episode refers to the Hindu Mount Mandara, and in his incarnate forms as For examples of Kangra paintings on the same the moment when the Ocean of Milk fnally view of an individual’s own spiritual journey. Krishna and the turtle Kurma. In a comic and subject circa 1810, see Dr. Linda Leach, Mughal yields the Amrit, (nectar of immortalit) and The “churning” through devotion, meditation jarring contast, the tiring demons, holding the and Other Indian paintings fom the Chester its other wondrous teasures. In this 1000-year and yoga are used to gain contol of one’s heads of the snake, are depicted as supplicants, Beat Library. Scorpian Cavendish. 1995. old epic tug-of-war between the Gods and the thoughts and senses in order to atain the palms outstetched towards Vishnu. The wonderful teasures that emerge fom the ocean’s depths foat as if in motion, across the top of the painting: (1) Chandra, the moon (adorning Shiva’s forehead), (2) Uchhaishravas, the celestial horse, (3) Khamadhenu, the cow of plent, (4) Kaustubha, the divine jewel, (5) Panchajanya, Vishnu’s conch, (6) various jewelled vessels and a celestial nymph, (7) Airavata the white elephant – Indra’s mount. (8) the Goddess Varuni, (9) Kalpavriksha, the wish-fulflling tee, (10). Dhanvantari, the heavenly physician. Here shown unconventionally carrying the Amrit, the supreme teasure in his bare hands. A reference back to the idea perhaps, that Amrit is not just for the Gods. 4 5 Landscape Of The Gods Email: r. [email protected] Lord Rama Victorious Meanwhile, the rejoicing monkeys run riot 2 using tees and boulders to force the demon army to reteat. In touching detail, the painter Opaque pigments with gold on paper leads our eye to the uppermost lef corner of Size: 36.5cm x 28cm (image); the painting where Sita the abducted queen, 37.5cm x 29cm (folio) forlorn and dishevelled has yet to be given the news of her husband’s victory. Kangra or Guler, India circa 1800 The origin of this painting is inconclusive. Stlistically, it draws references fom the well- The Ramayana—“Rama’s journey”—is one of documented 2nd Guler Ramayana series circa India’s oldest stories, about the exile and return 1790, the later books having distinct blue and of Rama, prince of Ayodhya. Valmiki’s epic gold borders. The rendition of detail, however, Sanskrit poem dates to around 400 AD, but the would indicate a later Kangra Series (not the stories are much older. 1780 Kangra series). For example, the Death of Surasa the sea serpent and the giant fsh who Verse 34: “Rama, the delight of Dasaratha who had Bali in the Toledo Museum of Art. Though the The enduring message of the Ramayana is help create the land bridge to the Island of just killed his enemy and thus who was steadfast in colours in this series are far livelier and less the interconnectedness of living things, man, Lanka. his vows, ….tood surrounded on the batle-feld by subtle than in this painting. (See The Classical nature and divinit. The poem is a botanists his own people and the army shone like Indra the Tradition in Rajput Painting fom the Paul F. delight, rich with beautiful descriptions of This dynamic painting takes its inspiration lord of celestials”. Walter Collection, New York, 1978, no.78). forests, medicinal plants and herbs, rivers, fom the Book VI – the Yudda Kanda (Book mountains and animal characters. (see of War). The closing verses (chapter 108) of Verse 22: Having lost his life, that king of demons The size of the painting may suggest it is a Nanditha Krishnan, Hinduism and Nature, this epic work are captured by the artist with for his part, who was endowed with terrible single works executed with exquisite atention 2017. Penguin Books). thrilling efect. swifness and invested with great splendour, fell to detail and knowledge of Valmiki’s verses. down fom the chariot to the ground. Interestingly, an example of a Ramayana In this painting, Lord Rama’s victory is Rama stands tiumphant in Indra’s celestial painting with similar dimensions portaying honoured by all of creation – the earth and chariot, the charioteer Matali portayed in There is joyous fanfare in the heavens above Gods and celestials in celebration at Rama and the heavens. The painting visually expresses full armour. Rama is holding the “mystic the batlefeld. The ketle drum is played in the Sita’s return though without the facial detailing this with commanding and entertaining detail. missile”, gifed by the God Brahma, and used sky and the Gods (led by Indra on his elephant of this painting, was atibuted to Mandi. (see Rama’s mission to rescue his queen, Sita could to kill King Ravana, his demon foe. The two mount), the celestial bards (charanas) and A Painting fom the Ramayana, Mandi, circa only be secured with the help of the natural kings: one the victor, the other vanquished, spirits (gandharvas) rejoice. The Gods shower 1820, Christie's New York, lot 357, March 2017). world: medicinal plants to stem the losses on given equal yet contasting prominence in the Lord Rama with fowers in celebration. the batlefeld, the monkeys led by Hanuman foreground of the scene. htp://www.valmikiramayan. net and Sugreeva, the bears led by Jambhavan, 6 7 Landscape Of The Gods Email: r. [email protected] Son’s Of The Forest: Lord 3 Rama And Prince Lakshmana cosmic order. Lakshmana stands shoulder to In Batle With Ravana shoulder with his half-brother Lord Rama. He is the embodiment of flial loyalt and shares many adventures with the royal couple in their Gouache and gold on paper exile. Size: 23.3cm x 16.6cm Guler, India Nature symbols are used repeatedly to circa 1840 symbolise the stuggle between Rama and Ravana as the tiumph of good over evil. The Ramayana story embodies the Hindu idea Afer 14 years of exile in the forest, the Royal of dharma – dut, behaving correctly according brothers afnit with the natural world is to one’s position and role in societ. Thus Rama depicted by their dress, their heads adorned is portayed as the ideal son and ruler, Sita as with crowns made of leaves. By contast, with the devoted wife, Lakshmana as the dutiful Ravana animal imagery is used to convey brother.
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