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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 evoke an ever-present landscape of the Gods (’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 , the sofness of the palete, (a association with . 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. 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 on the same the moment when the Ocean of fnally view of an individual’s own spiritual journey. 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 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) , the moon (adorning ’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.

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Lord 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 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 —“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, 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 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, 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 , 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 () 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 foreground of the scene. htp://www.valmikiramayan. net and Sugreeva, the bears led by Jambhavan,

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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 – 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. The blue-skinned Rama is identifed as deceit and tickery in the form of the deer. For the seventh incarnation (avatar) of the Hindu the deer was the demon Mareecha sent by god Vishnu, the Preserver, who descends to Ravana to lure Sita away fom safet and to her Earth whenever evil threatens to overturn subsequent abduction.

8 9 The Landscape Of Dreams Email: r. [email protected]

The Landscape Of Dreams: Three Folios From A Book Of The Royal Book writen in Sanskrit Of interest, is that many of the dispersed example cited above see Painting 31, Domains Dreams (Svapna Darshana) was a unique commission in ambition and folios be they neshta e.g. cats (see below) or of Wonder, B.. Goswamy & Caron Smith, San scale (100 folios – all widely dispersed). This utamam e.g. Lord (see below); and the Diego Museum of Art 200). catalogue brings together three of the folios. winged elephants cited above appear to have Provenance: Mewar Royal Collection had their folio numbers and dream “grade Mewar, , , India Art Historian A. Topsfeld writes: “For kings ratings” removed (For the winged elephant circa 1720 and subjects alike, the interpretation of dreams and omens could be as much a guiding factor in their Svapna is the word that refers to the state of enterprises as the prescriptions of the astologers. dreaming and through it, to “seeing a vision A cat crossing one's path might nullif plans for a in a dream” (Art and Soul: Of Dreams and journey. When still intact it must have had singular Diverse Images, B. Goswamy, the Tribune, charm. In its textual headings omens are graded India, February 2004). The history of dream in progressive categories, 30 fom evil (asubham; interpretation and divination is an ancient one e.g. a burgled house, families of dogs or monkeys) in India with taditions in Buddism (Buddha’s and undesirable (neshta; e.g. a poor man), to good mother dreamt of a white elephant) and (subham; e.g. cows in a byre), excellent (srestha; (Mahavir’s mother had 14 auspicious e.g. a in a hermitage, a king enthroned), or dreams). the best of all (utamam; e.g. winged elephant, lions, a pride of lions). Most of these subjects are The earliest Hindu reference to dreams can drawn fom everyday experience and rendered by be found in the Rig Veda, the most ancient of the Udaipur artists with an unafected directness texts. Descriptions of dreams signifing omens of observation” (See Andrew Topsfeld, Court appear in the (The Chhandogya Painting at Udaipur (2002), p. 144). Upanishad).

The Sanskrit in these folios is very easy to Dreams were not deconstucted in such texts follow, the texts illustated beautifully for to analyse a person’s state of mind or hidden aristocratic readers – the complete work would desire as in a Western scientifc tadition. have been an interesting read without being Rather dream books or texts were used to too taxing, akin to an exquisite cofee table interpret, foretell and portend events (omens) book rather than a hef tome. and ofen contained single images.

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4 The Cats: Neshta 5 The Boar: Neshta

Opaque pigments on paper across the path of anyone deemed unfortunate Opaque pigments on paper Exhibited: Size: 25cm x 18.75cm (painting); enough to come across them. Size: 25.5cm x 21.6cm (folio) Indian Miniature Paintings c.1590–c.1850, 25.8cm x 21.4cm (folio) The cats are adorned with gold collars and each Amsterdam, 1 October–30 November 1987, is depicted with charming atention. Udaipur, Mewar, Rajasthan, India no.23 Udaipur, Mewar, Rajasthan, India circa 1720 circa 1720 The Sanskrit inscription reads: J. Bautze, Indian Miniature Paintings Unpreventable obstuctions, always, Pride Provenance: c.1590–c.1850, exhibition catalogue, In Hindu, lore cats are ofen associated with and futilit, Sorrow and discord, Christie’s London, 12th June 2018, lot 28 Amsterdam, 1987, no.23, p.61 deception and insincerit. The four felines are All this is indicated by a cat. Christie’s Amsterdam, 12 October 1993, positioned against a green background laying lot 34 The Sanskrit inscription reads: Loss of propert, mental anguish, Death of sons, terrible fear, Death, sorrow, sufering: A boar indicates all this.

Sincere thanks to Dr. Richard Williams, SOAS, London for Sincere thanks to Dr. Richard Williams, his analysis of the text and SOAS, for his analysis of the text and kind tanslation. kind tanslation.

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Lord Kubera – God Of Wealth 6 (Probably) Utamam

Opaque pigments with gold on paper Size: 25.5cm x 21.6cm (folio)

Udaipur, Mewar, Rajasthan, India circa 1720

The Sanskrit inscription reads:

Health and pleasure, A place of gathering for worship, The beneft of a son's birth and a life of comfort: The Lord of Wealth, Kubera, indicates all this.

According to the , Lord Kubera once ruled Lanka, but was overthrown by his demon half-brother Ravana, later setling in the mythical cit of Alaka in the . Alaka was situated near Mount Kailas, the heavenly abode of Shiva. Kubera’s teasure houses were located within the eight lesser peaks surrounding Kailas.

Sincere thanks to Narmada Prasad Upadhyaya, Indore, India for his kind tanslation of the text.

14 15 Sacred Spaces: The Forest Email: r. [email protected]

The Ramayana – Rama And Sita Arrive In The Forest having a hill and evoking a sweet (madhura) The painting is fom the Pahari region (cherry plum), the (cluster fg or fcus 7 rasa, with an air of purit and spiritualit. situated at the foothill of the Himalayas and racemosa). The tapped tee resembles the Ficus Inhabiting the forest are tibal peoples gifed with distinct fora and fauna that one would elastica (rubber tee) but is most likely to be a Gouache with gold on paper with supernatural qualities. (See Environment not fnd in a deciduous topical forest like stlized interpretation of a tee with medicinal Size: 36cm x 25cm (painting) and Ecology in the Ramayana, Indian Journal Chitakoot. To the right is painted a Himalayan properties. of History of Science, Mira Roy, 2003) Birch (the upright birch) with its catkins and Kangra, India distinct leaning shape, a common sight across circa 1820–30 The visual narrative is beautifully composed the hillscapes of . The so that one’s eye tavels in a circle starting fom cental fowering tee could be any number Provenance: Formerly in the collection of the lower lef and moves around the picture to of fowering fuit tees, such as Myrobolan publisher Tom Maschler fnish up at the upper lef. The main characters (with the exception of Sita) appear more Sotheby’s than once within a single fame, a technique Arts of the Islamic World B. Goswamy calls “continuous pictorial October 2019, lot 195 rendering” (the Spirit of , Thames and Hudson, 2016). The technique In Hindu lore, forests are places of refuge, is employed by Indian painters to show the and inspiration-places to be revered rather passage of time. than feared. Sacred spaces where the greatest Vedic literature was revealed to sages and The present unfolds in the cente of the ascetics living in forest hermitages. In Valmiki’s painting. One views the scene through the eyes Ramayana, Lord Rama’s 14-year journey fom of Sumanta hiding behind the tee. One of Ayodhya to Lanka was spent passing through the forest dwellers is ofering the royal couple four diferent forests. This charming painting what appears to be an insect repellent tapped provides us with many visual clues as to where fom a forest tee. Lakshmana is arranging his in his journey this scene may have taken place. hair in a jata to begin the vanaprastha (forest Lord Rama, Sita and Lakshmana are brought to retirement). In the upper lef corner, one sees the forest by the royal courtier, Sumanta and Sumanta in the royal carriage looking back at spend the frst phase of their exile in Chitakoot his royal charges – one last time, as he prepares forest (modern-day location between Uter to leave them. Back to the future, one sees the Pradesh and ) besides the two princes in meditation as they setle into Mandakini river. Valmikis calls it the mahlivana their new life in exile. or great forest. The forest is described as

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A King Consults The Sage Narada The image represents an elegant blending 8 of Indian visual taditions. In mainsteam Hindu , the tiger (representing royalt, majest and stength) is the popular Gouache and gold on paper mount for female deities such as and Size: 33cm x 28cm (painting) . In Kerala, southern India, the tiger is the mount for Lord Ayyappa, the son of Inscribed verso in nasta'liq script. Shiva and Mohini, a forest ascetic and warrior- The inscription reads sarandhim surghuk, sage. Interestingly, the “king seated upon a vabuta narah ji srim tiger” theme is also popular in Indian folk art and oral story-telling. The Gazi Scrolls Pahari, (Murshidabad, Bengal, c.1800), in the British Probably Kangra, India Museum, were used as visual props in story- circa 1830 telling performances. The scroll painting tells

the story of the 12th century Bengali Muslim Narada is a vedic sage, famous in Hindu Saint, Gazi who was known for his power taditions as a divine seer and counsellor of over dangerous animals such as the tiger Kings such as Yudhishthira and Krishna in and snake. In the mangrove forests of the the epic tale, the . He is credited , , locals worshipped with inventing the musical instument, the Gazi and such as Dakshin Rai for Vina, which he is shown carrying over his lef protection fom tigers. shoulder. In this painting, Narada is shown in dialogue with a King. One panel fom the British Museum scrolls shows Gazi holding a snake and seated on a This graceful painting is unusual in its tiger with its tail famboyantly curled above his portayal of a king seated upon a bejewelled head. The tigers in both paintings are shown, tiger. In paintings fom the Punjab Hills, the content in their submission, with curled, tiger is commonly the subject of royal hunting dramatic claws with their riders seated upon a scenes (see, for example, an illustation fom rich coverlet. the Hamir Hath: Ala-uddin and Mahima hunting, Punjab Hills, India, circa 1790, Sotheby’s, lot 13 June 2012 & Pleasures of the Hunt, Metopolitan Museum of Art, New York, ca. 1800 , Punjab Hills).

18 19 Sacred Spaces: The Grove Email: r. [email protected]

Painting Of The Musical Mode Asavari (Asavari Ragini) association with that of tibal worship of nature 9 spirits and local deities residing in tees, rocks and animals.

Opaque pigments on paper In this charming painting, Asavari is Size: 29cm x 22.2cm (painting) accompanied by a courtly retinue of female musicians and servants, with a royal palace Murshidabad, Bengal, India shown in the background, an overture perhaps circa 1780, Mughal period to the much earlier infuence of the imperial Delhi stle on Murshidabad painting. Provenance: Formerly in the Kelekian Collection, Of note, is the distinct curved horizon that can New York. be seen fom the late 1760s in Murshidabad Joseph Soustiel, Paris painting (see J. Lost, Painting at Murshidabad Alexis Renard, Paris 1750–1820’ in Murshidabad: Forgoten Capital of Bengal, ed. Neeta Das and Rosie Llewellyn- Ragamala (garland of melody) paintings Jones, Marg Foundation, Mumbai, pp. combine art and music in a way that is 82–105). For another example of a Ragamala unique to India. Essentially, painted melodies, painting with this distinct curved horizon see Ragamala paintings convey the mood of the “Megha : The Crowned and Garlanded raga (or musical mode), through depictions of Krishna Stands Holding A Single Flower In deities or lovers in varying states of union and A Landscape”, Murshidabad, c. 1760, British separation. can be organised according Library (Bridgeman Art Library). to the season and the time of the day they should be played. The Raga Asavari is a late morning Raga.

The emotion of the musical mode of Asavari is metaphorically expressed as a solitary and desolate tibal woman abandoned by her lover. She is conventionally shown seated within a rocky grove in communion with nature and the snakes she charms. The sacred grove has a long

20 21 Sacred Spaces For Lovers: The Well Email: r. [email protected]

Their First Encounter Sanskrit works. Stanza 40.7 describes how in Forge & Brendon Lynch, Indian Painting Domains of Wonder, B. Goswamy & 10 pursuit of a stag, Shahid comes upon a village 1600–1870, New York 2012 and Painting 91 in C. Smith, 2006). where he is stuck by the sight of village girls at Opaque pigments with gold on paper a well. He is particularly stuck by the beaut Size: 28.2cm x 17.9cm (image); of Wafa, the daughter of the village headsman. 39.4cm x 25.5cm (album page) That night, the village is atacked by Afghan raiders who capture Shahid and Wafa. The Oudh, India poem ends well for the pair who are feed Late 18th Century, Late Mughal Period and later married. (see. C. Shackle, Persian Poety and Qādirī Sufsm in Later Mughal Provenance: Private UK Collection India: Ghanīmat Kunjāhī and his Mathnawī- yi Nayrang-i 'ishq, in The Heritage of Sufsm: Last Night I heard that love was on its way, Volume 3, Late Classical Persianate Sufsm, There is no beter place than school. Boston, 1999). The ideal of “love at frst sight” is also a pan-European one expressed in the Especially love-making’s school, tadition of the courtly poets of the That place as fair as lovely Shahid middle ages.

Nayrang-I’Ishq In this painting, a beautiful maiden leans across Ghanimat Kunjahi to ofer the handsome stanger a drink fom the 1685, India well. Neither appears abashed, and their eyes fx upon each other as if a spell has been cast. “The prince and the village girl share an Of note is the way their hands come together amorous encounter at the well” was a popular around the vessel of water, though they do theme for artists during the late Mughal not touch. The mono green background gives period in centes such as Delhi, Lucknow, a prominence to this encounter, watched by and Murshidabad. The theme derives fom the other village girls. There are subtle details a number of Persian literary sources, in that give context to the scene – the stanger’s particular, the Nayrang-I’Ishq quoted above courtly atire and jewelled ruby dagger. His (the Charm of Love), by Mughal Suf poet, companion’s falcon hints at their noble status. Ghanimat Kunjahi. Writen during a period By contast, the village girl’s sari is tied in the of considerable Muslim-Hindu cultural stle of a working women as she draws water interaction, the poem was later absorbed into fom the well. For notable examples, see Oliver

22 23 Sacred Spaces For Lovers: The Pavilion Email: r. [email protected]

Meeting Of The Eyes verses became extemely popular because in Sincere thanks to Dr. Richard Williams, SOAS, feminine form, the insertion into the landscape 11 a tiny couplet he could paint the entire scene, for his kind assistance and tanslation. of litle-globe like tees, and the imbuing of ofen relying on the reader to imagine what is The painting, imbued with much meaning, is the feminine fgures with a sinuous grace. (See Gouache with gold on paper lef unsaid. The perfect cue for painters. Such illustative of the late 18th century Garhwal Archer intoduction in The Faber Gallery of Size: 26.4cm x 21.7cm (painting) literary texts would have been used in artist stle, brought abruptly to an end with the Oriental Art, Garhwal Painting, 1957). For a workshops as the basis for a commission. twin calamities of an earthquake in 1802 and comparative example, see “Krishna watching Garhwal, India the invasion of the Gurkhas in 1803. In his ’s toilet”, Edwin Binney 3rd Collection, circa 1790–1800 In this painting, the fve couplets in verso read. analysis of Garhwal painting, W.G. Archer c.1795, San Diego Museum of Art). Bihari Lal verse in verso notes the use of leafess branches to parallel the She faces everyone, but in a moment, turns Provenance: her back on them all. Her gaze, a Maggs Bros., London, Oriental Miniatures, qibla-compass, stays fxed on him alone. (44) Bulletin no. 5, April 1963, no. 105 He suggests, she refuses, he’s charmed, Note of interest: A preliminary sketch she’s annoyed, they meet, she smiles, of the same scene is in the Metopolitan embarrassed: when the house is full, they Museum of Art, New York. Drawing for say all this with their eyes. (45) an Illustation fom a Sat Sai of Bihari Lal Series: atibuted to Fatu, 1785–90. This isn’t love! I have some afiction in my eyes. I don’t understand how I’m always In this classic Indian composition, the red oval thirst when they’re always flled with fame heightens the intensit of the unrequited water. (46) passion between the lovers Krishna and Radha who gaze longingly at one another through She stands, beautiful head to toe, but he a pavilion space. In Garhwal, as elsewhere in longs to see her smile. The cunning one’s the Punjab Hills, the romance of Radha and greedy eyes will not give up on their desire. Krishna fascinated the Rajput nobilit. (47)

The scene is an illustation to Bihari Lal’s She does not see honour or dishonour, she Sat Sai, one of the masterpieces of Brajbhasa sees his dusky body. What to do? Filled up literature. Bihari Lal was a 17th century court with greed, her nimble eye is roving. (48) poet who worked at the court of Raja Jai Singh (r. 1611–1667), at Amber, near . His

24 25 Sacred Spaces For Lovers: The Pavilion Email: r. [email protected]

The Kiss – Desakar Ragini: 12 An Illustation To A a sense of passion and play. In delightful The Sirohi Ragamalas are characterised by Robert Skelton, Anna L. Dallapiccola, Ragamala Series contast, an example of Desakar Ragini, in the an individualised iconography and a vibrant Ragamala paintings fom India: From the Victoria and Albert Museum, shows the couple palete, with the dominance of oranges, Claudio Moscatelli Collection, London: Philip as Radha Krishna playing a game of pachis browns, reds and olive green. For further Wilson Publishers, 2011, pp. 13–14). Opaque pigments on paper (Indian board game). discussion on Sirohi, see Catherine Glynn, Size: 25.4cm x 19.7cm (folio)

Sirohi, Rajasthan, India circa 1675–1700

The Kingdom of Sirohi was a small in southern Rajasthan. During the seventeenth century a fourishing school of painting was established under the patonage of Akheyraj I (1620–73) and his grandson, Bairisal (1676–97). Ragamalas were a popular subject at Sirohi, which produced frst wall paintings of Ragamala subjects and then painted sets of varying sizes. Sirohi paintings fom this period are important for they represent the last examples of the early Rajput stle unadulterated by Mughal infuence. A stle defned by fat backdrops and their horizontal layering (see J. Lost, Rajput Paintings fom the Ludwig Habighorst Collection, 2019 Francesca Galloway).

Desakar ragini is the pictorial image for ragas appropriate to the rainy season (July and August), a time of year taditionally associated with fertilit. Desakar ragini paintings usually, though not exclusively depict an amorous couple as in this intimate example, evoking

26 27 The Garden Email: r. [email protected]

Ari Singh Enjoys Vaisakh number indicates that this painting is no. 23 of at Chitorgarh, the 14th century Mewar, 13 In refeshing contast with much of the category heading 30 for general literary texts summer palace. Constucted by the wealthy, formal portaiture fom this period, this such as Ragamala, Sur Sargar and Rasikapriya. tanks served as water reservoirs in arid desert Gouache with gold on paper delightful painting with distinct folkish environments and were used for planting, e.g. Size: 27cm x 19cm (image); borders commissioned c.1770 presents the The cental feature of the Rajput royal Garden, the water-lilies shown in the foreground of this 33cm x 25cm (folio) ruler at leisure with his ladies in a Rajput many still in existence today, is the stepwell or painting, for cooling gardens and for play as in garden. The painting is fom a Barahmasa tank (vav, or baoli/baori). An ornate example; this image. For example, the opulent royal bath Provenance: Royal Mewar Collection series. In a similar way to ragamala paintings, the Raniji ki Vav constucted in 1699 at Bundi in Badi Mahal garden in Udaipur cit palace. Jotdan inventory numerals in verso with their visual representations of musical and a fabled example; ’s Garden modes, the Barahmasa (meaning the twelve Mewar, Udaipur, Rajasthan, India months) conveyed the joys of love and pangs of circa 1770 separation experienced by couples within the context of the changing seasons. Maharana Ari Singh I I (r. 1761–1773) was widely reputed to have gained the throne Vaisakh corresponds to the month of April, to Mewar through unfair means and was one of the hotest months of the year, thereby an unpopular monarch. Much of the art explaining the need for Ari Singh and his depicting his reign, be they portaits or hunting consort to be sprayed with cold water. This scenes show him in heroic pursuits, the able painting is one of a dispersed set fom the equestian and noble hunter. (e.g. Maharana Mewar royal collection, another of which, Ari Singh Hunting Wild Boar, 1764, Simon Ray, depicting the month of Magha (the 11th month, 2013). These idealised scenes, perhaps a far cry January & February), is in the National Gallery fom the stark realit facing Mewar at that time, of Victoria, Austalia. an insecure kingdom on the brink of a Maratha invasion. The Mewar royal inventory number (fom the palace store or Jotdan) is writen in red Panoramic garden vistas were a subject of on the reverse: 30/23. These numbers date painting during his reign. For a beautiful fom the 19th century and correspond with example see Maharana Ari Singh at Jag A. Topsfeld’s inventory of paintings in the Mandir, featured in “Palace Life” by Ramya Udaipur Jotdan (noted in his article “The royal Shreenivasan in Anna Jackson and Amin Jafer paintings inventory at Udaipur” in John Guy ed. Maharaja: The Splendour of India’s Royal (ed.), and connoisseurship: Essays Courts, London: V&A Publishing, 2009. in honour of Douglas Barret, 1995, p. 192). The

28 29 The Garden Email: r. [email protected]

A Harem Garden With European Galleons planting beds flled with poppies, roses, own famboyant interpretation of the European “Entertainment in a Harem Garden, c. 1765, 14 and an espaliered vine behind the marble perspective. For example, see “A dancer Sotheby’s 2011. pavilion. The river, whilst a scenic backdrop balancing a fask of perfume on her head”, was critical to where such gardens were built, Chester Beat Library, Dublin (in L. Leach Gouache with gold on paper for unlike Rajput tank gardens, Mughal tomb Mughal and Other Indian Paintings fom the Size: 33.3cm x 28.1cm (image); and pleasure gardens were designed around Chester Beat Library, 1995, no.6.334, p.695); 44.1cm x 36cm (folio) irrigations systems, channels and water chutes as shown in this painting. Provincial Mughal, India circa 1760–1770 The Princess being coifured by her atendants sit nestled within the seclusion of the harem, The reverse with atibution in pencil with other courtly ladies at repose. A gentile 'From/Chester Beat Colln.' and feminine ambience pervades the picture that would in some ways sit at odds with the Provenance: masculinit of the European galleons and Formerly in the collection of the late tading ships. However, these are depicted as Professor Donald Robertson of the Persian if in a sketch, ghostly, present but not intuding Department, Cambridge Universit into the garden idyll. Christie’s October 2018. Lot 182. Bonhams, October 2009, lot 253. In his book, “A Second Paradise”, the historian, Naveen Patnaik, (Doubleday, 1995) describes In India, the classic Islamic garden developed the ambience of the harem garden: “Purdah to a high degree of refnement. The garden was gave a special poety to Indian . The an embodiment of paradise. The cental feature desire to conceal women fom view produced the of the Mughal garden was the chahar bagh inner courtards, the verandahs, the inticate latice (four quadrant) design organised in the form shuters of that private world. It was a domain unto of a cross with a cental pavilion or fountain. itself, and some harem festivities were of a The four-square design derived fom Koranic heart-stopping beaut”. references to the four rivers of wine, water, milk and . The painting is executed in the stle of the painter Faizullah of Faizabad, Oudh, who This painting is a lovely illustation of the came to prominence with his lavish paintings chahar bagh design within a harem, with of receding palace terraces and gardens in his

30 31 The Garden Email: r. [email protected]

A Princess With A Terrace 15 At Dusk: The Apricot

Gouache and gold and paper Size: 40.7cm x 27.5cm (abum page)

Late 18th century Late Mughal period, probably Oudh, India

This ornate terrace scene depicts a hennaed princess being ofered a plate of apricots (hang or mui) by her lady atendants. Seated upon a marble terrace, underneath a gold canopy or awning, the onset of dusk provides the perfect time to enjoy a garden seting. For dusk is the time when the heady scents fom fowers such as champaka (jasmine), gardenias, the moon creeper convolvulvas, and stephanotis would have been enjoyed fom such garden terraces.

Of interest in this painting, is the gold plate containing just two apricots. The frst Mughal emperor Barbur is credited with intoducing improved fuit varieties such as the apricot fom Kabul. Initially, fom cutings and later with new grafing techniques. The apricot, like other fuits such as Kabul melons, seedless pomegranate, quinces and peaches were grown in cooler environments such as Kashmir and were very popular among the noble classes.

32 33 The Garden Email: r. [email protected]

Sultan Abul’ Hasan Of Golconda: The Rose to the heavy ornamentation and gilding portaiture could be the subject of a separate 16 characteristic of later paintings. The reverse catalogue, sufce to say, the rose carries deep of the album page is bound in green silk. symbolism in Hindu and Islamic taditions. Deccan, India, possibly Another page fom this album, bearing a Late 18th century stiking likeness to Abdullah Qutab Shah VI (his predecessor with his tademark drooping Gouache and gold on paper moustaches) was sold at Christie’s, New York in Size: 22cm x 13.8cm (image); September 2003 (Lot 123). 32cm x 23.8cm (album page) Such albums or sets containing portaits of Provenance: past notables were likely to be the product of Formerly in the Collection of Peter and the bazār studio, rather than court ateliers. Evelyn Kraus, New York Such works were popular and collected by Europeans and afuent individuals (see J.P The 18th century heralded a deep sense of Lost, the Development of the Golconda Stle nostalgia that was very apparent in the tpes of in Indian Art and Connoisseurship: Essays in paintings being commissioned, particularly at Honour of Douglas Barret, Ed. J. Guy, IGNCA the court of the Asif Jahi dynast at Hyderabad. & Mapin, 1995). In spite of the sorry end to the rule of the Qutb Shahis, the Hyderabad court continued to Sultan Abul’ Hasan surrendered to produce sumptuous portait scenes of earlier ’s toops at the Siege of Golconda rulers. Mark Zebrowskī writes, “the subject of in 1687 and died in captivit in Daultabad portaiture are ofen given the stern profling of fort. One would not imagine he had such an Mughal Princes full of imperial purpose, but are ignominious end fom his portaiture. Labelled placed in such a dream world of exotic shapes and the “king of taste”, Abul’ Hasan’s physical colours”. (Architecture and Art in the Deccan form and facial features are very distinct Sultanate, Vol. I in Mitchell & Zebrowskī, and he is ofen portayed in tasteful repose 1999). carrying a rose. See portait, c. early 18th century, Sotheby’s The Sven Gahlin Collection, This sumptuous portait is of the eighth and Lot 48 October 2015. Other examples are in last Sultan of Golconda, Abul’ Hasan Qutb the Victoria and Albert Museum and the Shah. It appears to be fom a late 18th century Ashmolean Museum, Oxford. The signifcance album or set of the Sultanate rulers, owing of the damask and musk rose in Mughal

34 35 The Temple Garden Email: r. [email protected]

Twin Paintings Of Jain 17 Devotees In Prayer

Gouache on paper paintings. The pair are richly atired and of Size: 30.8cm x 18.7cm (2) note is the receding stle of the hairline of the female devotee which one sometimes sees Udaipur, Rajasthan, India in devotional Nathadwara paintings of this circa 1840–1860 period.

Provenance: Jain and Hindu temples have sacred green Formerly in the collection of the late spaces for prayer and contemplation. Such Professor Donald Robertson of the Persian spaces located within temple enclosures ofen Department, Cambridge Universit. include a shrine and many sacred tees with ayurvedic properties. A wonderful example This pair of paintings depicting male and is the 600-year-old Rayan tee (manilkara female Jain devotees in prayer are delightfully hexandra) in the of Ranakpur, unique in their elegant pairing and the Rajasthan. Under this tee, devotees place intiguing inscription – a blending of a dialect oferings to a footprint idol of Lord Rishbhdev known as Kari boli and Rajasthani, writen in (Adinath). Devanagiri script. The couple are standing in font of each other in prayer at the 15th century Sincere thanks to Narmada Prasad Upadhyaya, Jain Temple of Rishabhdev, situated outside Indore, India for his kind reading and Udaipur, metaphorically drinking in the nectar tanslation of the text. of Jain teaching.

The inscription below the male devotee, named as Parmesji states that he is standing in the temple, which is described as the durbar or court of Rishabhdev, the frst or charmingly illustated with a foral fieze to fulfls all their wishes and desires. The temple spiritual teacher of Jainism. The inscription exemplif this point. is also known as Kesariyaji temple because below the female devotee compares her of the tadition of worshipping the idol with devotion to that of a bumblebee drinking Both Jains and have great respect for Kesar or safon – an important detail in light the nectar fom a fower. Both paintings are this temple since they believe Lord Rishabhdev of the dominance of vivid yellow in both

36 37 The Poets Email: r. [email protected]

India’s sacred books: the Vedas (knowledge), the Itihasa (“that which happened), the Purnanas artist to Maharaja Jagat Singh of Mewar. He voice of a female companion, rebuking a man (ancient texts), the Sutas (threads) and Kavya (poety) tell us much about the natural world. The was charged with two almost simultaneous for the rough and insensitive way he slept with Kama Suta, for example, describes how viewing a garden can be a prelude to a royal seduction, an commissions of the Rasikapriya comprising an inexperienced woman (mugdhā). enduring theme in miniature paintings. For garden historians, the Ramayana and the Mahabharata some 110 pages between 1630 and 1640, 21 are the most important texts. But much can be gleaned fom the paintings themselves and how pages of which were in the Royal The verse is replete with foral imagery to artists employ visual tools to convey the hidden meaning of poets. Keshavdas was renowned for Collection. suggest her defowering, the artist’s placing using nature is his works as a metaphor, such as the fagrant grove, or a blossoming tee to suggest of a young deer in the garden outside the bed amorous pleasures. Topsfeld reveals that original Sahib Din chamber compounds the efect. Two male works were duplicated by diferent hands in peacocks and the rising sun are painted with the period 1640–1660, the tadition of copying coy humour, as the birds and the rising sun The Brutish Encounter and imitation was common practice in artist watch the unfolding of events. 18 ateliers. Sahib Din appears to have made copies of his own works (the c.1630–35 series). The verse reads: Gouache and gold on paper composed his masterpiece on the classifcation Topsfeld references a series c.1660 carried out Size: 30.7cm x 24.5cm (folio) of heroes and heroines (nayakas and nayikas) by a follower of Sahib Din. It is likely that this “You pleased her while she was with in 1591. It is writen in the elaborate riti painting is fom this set. For another example her girlfiends, and made her make you Mewar, Rajasthan, India (mannerist) stle of Hindi literature and of a c.1660 folio, catalogued by J. Lost see promises, you drugged her and put her to circa 1660 portays the love between Radha and Krishna “A meeting of lovers in the dark”; Folio fom sleep, and did it by force, my lord! with much symbolic imagery and covert a Rasikapriya series Mewar, cat. 3 in J. Lost, Provenance: eroticism. (See. Rasikapriya of Keshavadas, K.P Rajput Paintings fom the Ludwig Habighorst This maiden is delicate like a lotus stem, a Published in Rasikapriya, by Harsha V. Bahadur, Delhi 1972). Collection, 2019 Francesca Galloway). garland of jasmine fowers, Dehejia, 2013, D.K Printworld (P) Ltd. The Rasikapriya was not a literary text However, the Indian Art Historian, Harsha V. Page 153 meant for appreciation by the general public. Dehejia places this folio closer to 1680. In his yet you crushed her! Are you a man or a Composed under royal patonage as an book aforementioned. beast? She does not know that dawn has European Private Collection instuction to aspiring poets to appreciate the broken, Keshavdas says, listen to this: rasika genre of poety, the work presented The Brutish encounter deals with the subject Formerly in the Royal Collection, Bikaner several challenges to the artist. Writen in the of non-consensual, violent sex. The predatory just look at her worn-out body, what has Bonhams, October 2016, lot 289. scholarly bhasa, there would have to have male is being sternly rebuked for his actions by become of her spirit? This picture-perfect been a scholarly intermediary to help them the women in yellow and blue – the speaker woman is now still like a painting, This beautiful painting is an illustation to the grasp the literary nuances of the text. of the poem, as she gestures to his victim. He Rasikapriya (Handbook of the Connoisseur) is reprimanded for being a novice lover (or tell me, then, novice lover, where is the by Keshavdas, the celebrated court poet at the The text proved an ideal vehicle for the artistic nae rasika), ignorant when it comes to the artisty in all this?” Kingdom of Orchha, Bundelkand. Keshavdas talents of Sahib Din, however, gifed court sophisticated science of love. The verse is in the

38 39 The Poets Email: r. [email protected]

By today’s standards, the subject mater Reference: here—non-consensual sex—is disturbing. The Topfeld. A. Court Painting at Udaipur, verse belongs in a longer series, which includes Artibus, ASIAE, 2002. “women in their prime” and “mature women” who have very diferent verses on lovemaking, Of Royal Patonage: Indian paintings fom the which contast with this early instance…The 16th to 19th centuries. Carton Rochell Asian poem might be read as an enjoinder to men to Art. New York. 2020 avoid violent, non-consensual sex, since tue connoisseurs consider it beastly rather than sophisticated.

The wordplay around the themes of pictures and paintings in the fnal line lends itself, of course, to the visual artist. The speaker of the poem is the woman in yellow and blue, who is talking to the man over her shoulder while gesturing to his victim. The crude lover has been depicted with soiled armpits, suggesting his physical exertions while manhandling the woman, but also to mark him as lacking the sophistication of a tue lover-connoisseur (rasika).

Sincere thanks to Dr. Richard Williams, SOAS, London for his analysis of the text and kind tanslation.

40 41 The Poets Email: r. [email protected]

Krishna The Lover Contemplates Leaving The text begins with an invocation to one’s The horses are sensitively painted with a Sincere thanks to Narmada Prasad Upadhyaya, 19 forefathers: nobilit and grandeur fting for Lord Krishna. Indore, India and Dr. Richard Williams, SOAS Lord Krishna is richly atired and towers above London, for their kind tanslation, and analysis Opaque pigments on paper During this month the spirits of ancestors the retinue of ladies to his side. Important of this difcult text. Size: 19.5cm x 13.5cm (image); come down to Earth to receive propitiations fgures were conventionally painted like this in 20cm x 14cm (folio) fom people on Earth. People worship the Rajasthani and cental Indian paintings fom nine Durgas for success in life and salvation this period to denote their exalted status. circa late 17th century beyond. Kings accompanied by pandits Cental India, possibly or a Mewar (religious advisors) set out on tour to see sub-regional school, India their kingdoms.

This intiguing miniature painting is an The poet Keshavdas says the sky is clear illustation to the Kavipriyā (Handbook for afer the rainy season, the distessed earth Poets, 1601) by Keshavdas, and describes the is adorned with water and lotuses are in month of Kvar / kwānr (or Ashvin) in early bloom. The moon illuminates the clear autumn (September–October). This verse is unclouded nights. Lord Vishnu and his part of a barahmasa cycle, in which the beloved consort, dance a celestial dance. In ties to persuade her lover to stay by her Kvar there is a wishing tee of lovemaking. side by describing the monthly festivals and The nayika requests her lover not to leave marvels he would miss out on if he lef home. her.

Like any other inscription fom this period, The painting is intiguing because the artist has this verse has been writen in an idiosyncratic focused on the Sanskrit etmology of Ashvin, fashion: there are some small scribal errors “horse”, and has depicted Lord Krishna and variations, and the top line of the verse is inspecting his horses (perhaps as he considers missing, which make the reading of the poem leaving home). Whereas other artists, like the quite difcult for scholars. Bundi painter of the British Museum series, illustate diferent aspects of the verse such as the celestial dance and kings visiting their kingdoms. (British Museum, the month of Asoj, c.1675-1700 Bundi, accession number 1999,1202,0.5.4).

42 43 The Poets Email: [email protected]

Vairati Ragini: Picturing it as a woman and a companion enjoying the Sound 20 cool draught of a fy whisk (hence the two women combined with a representation of the sound). In this scene, a seated noble woman is Gouache, gold and silver on paper stoking the chin of a gentle, and rather tame Size: 24.8cm x 18.6cm (folio) bull, who appears to have wandered into a palace garden. Her companion stands behind Bilaspur, India her with a richly embroidered handkerchief circa 1680–1690 for her fiend to wipe her hands upon. Their fnery is exquisite and the detail gives us much Provenance: information on the adornment of noble ladies Formerly in the Royal collection, Mandi. at that time. For another Pahari version of this inscription verso sri raga di vairati, cover raga, see K. Ebeling, Ragamala Painting, 1973, paper with a stamp of the Mandi Royal p. 276, no. 311. collection.

The execution of colour, the facial features and This clear, crisp and orderly composed the two-dimensionalit of this painting are painting derives fom a dispersed ragamala common features both of Bilaspur painting in series produced c.1680–1690 in the Pahari Hill its earliest phase at the end of the 17th century Kingdom of Bilaspur. Ragamala paintings were and this series. One sees common elements especially popular here and artists appear to with other folios, as with the distinct red have interpreted the ragamala system with a background, and the narrow bands of blue good deal of license and fantasy. According to and white for the sky. See Shankarabharana the popular ragamala classifcation system laid Ragaputa, Smithsonian’s National Museum of out by the sixteenth century priest, Kshema Asian Art. The Catherine Benkaim collection. Karna, Vairati is the frst wife of Sri Raga. His For other examples fom the series, see J. Dye, complex “family” system of ragas comprised Arts of India: Virginia Museum of Fine Arts, six principal ragas Bhairava, Malakoshika, 2001, p. 338, no. 142; W. G. Archer, Indian Hindola, Deepak, Shri, and Megha, their wives Paintings fom the Punjab Hills, London 1973, (raginis) and sons (ragaputas). Kahlur (Bilaspur), vol. I, p. 176; vol. I, p. 231. no. 8. The sound of Vairati is that of a water bufalo (though here represented by the bull). Kshema karna describes the visual image atached to

44 45 Landscape Of The Gods CONTACT Rita Dixit Phone: +44 (0)771 325 4677 Email: [email protected]

FURTHER INFORMATION Business Address: By appointment only – Noting Hill, London W2.

Thank you to Christina Chester for production of this catalogue.

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