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The Robbins Collection of Indian Princely States: Paintings THE ROBBINS COLLECTION OF THE INDIAN PRINCELY STATES: PAINTINGS, DRAWINGS, ILLUSTRATIONS, PHOTOGRAPHS, & OBJECTS Paintings possibly Khushala and Gaudhu. This set of paintings was made for Sansar Chand 15001 Painting, India, Pahari of Kangra and given by his son to the Composite Man Made of Birds ruler of Tehri Garhwal. Chamba, ca. 1730 15008 Painting, India, Pahari 15002 Painting, India, Pahari The Union of Krishna and Radha Shiva and the Ganas Fight for Banasura Kangra, ca. 1775-81 against Krishna, Balarama and Garuda Leaf from a Gita Govinda series Chamba, ca. 1780 see ACSAA # 15007 From an usha-aniruddha series painted by a member of the Pandit Seu family. 15009 Painting, India, Pahari Shiva, Parvati and Nandi 15003 Painting, India, Pahari Mandi, ca. 1740 Durga Single-Handedly Defeats an Enemy Shiva is shown with the features of Army Maharaja Shamsher Sen. In Mandi, the Guler, ca. 1790 royal atelier often portrayed deities with the features of the ruler. 15004 Painting, India, Pahari Shiva-Shakti 15010 Painting, India, Pahari Guler, early 19th century The Goddess Mandi, ca. 1740 15005 Painting, India, Pahari The Demon Maricha Sends a Rain of 15011 Painting, India, Pahari Blood and his Demon Army to Torment Matsyavatara Rescues The Four Vedas the Sage Visvamitra Who Is Protected by From A Rakshasa Rama and Laksmana Mankot, ca. 1710 Hindur Nalagarh, mid-19th century Gouache, from a Vishnu Avatar Series or Gouache, from a Ramayana Series Bhagavata Purana. This painting is painted in the style of the 15006 Painting, India, Pahari first Mankot Bhagavata Purana (now in Krishna Kills the Demoness Putana by the Chandigarh Museum) even to the red Sucking her Poisoned Breasts border with black and white rules. Kangra, circa 1790 Though the Bhagavata Purana paintings By a master of the Pandit Seu family were in the Mankot royal collection, some Gouache, from a Bhagavata Purana series. scholars think they were brought there as Drawing heightened by light color washes part of the dowry of a Basohli princess. Pandit Seu and his descendants over several generations produced 15012 Painting, India, Rajasthan masterpieces in the courts of Basohli, Akrura's Vision of Krishna as God Chamba, Guler, Kangra and other Pahari Bikaner School, ca. 1610 states. Leaf from Bhagavata Purana Series 15007 Painting, India, Pahari 15013 Painting, India, Rajasthan The Sorrow of Krishna The Lovers' Embrace Kangra, ca. 1775-81 Attributed to Chokha Leaf from a Gita Govinda series painted Devgarh or Mewar, ca. 1815 by members of the Pandit Seu family, Gouache It is possible that the prince in the Maharana of Mewar refused to let him painting is Amar Singh, the son of marry a daughter promised to his late Maharana Bhim Singh of Mewar. predecessor. The princess finally committed suicide to preserve the honor 15014 Painting, India, Rajasthan of all participants. Coat-of-Arms of a Thikana (estate) within Jaipur 15017 Painting, India, Rajasthan Dundlod Kesri Singh and Party Engaged in Mortal In order to create a hierarchical feudal Combat with Tiger aristocracy under the Queen-Empress, Jodhpur Sub-style, ca. 1750 coats-of-arms were created for and by the princes and even their nobles. This one 15018 Painting, India, Rajasthan shows an ancestral warrior, the god Durga Slaying Demons Krishna, and a castle or fort. Kotah, early 18th century Just as their British overlords challenged the princes' assumed prerogatives and 15019 Painting, India, Rajasthan symbols of power, the princes often Chained Bull Elephant Surrounded by challenged plays for power and prestige by Calves their nobles. The Thakur of Dundlod was Kotah, early 18th century chastised by the Jaipur durbar for describing his home as a castle rather than 15020 Painting, India, Rajasthan a fort. He still kept the address "Dundlod Equestrian Portrait of Maharao Ram Castle" on his stationery but crossed out Singh II "castle" in correspondence with Jaipur. Kotah, ca. 1850-60 The structure was originally built in 1750 as a fort and not used as a residence until 15021 Painting, India, Rajasthan 1809. Today it is both a residence and a Radha's Tryst with Krishna hotel. Mewar, 1719 Attributed to Jagannath 15015 Painting, India, Rajasthan Gouache from a satsai of Bihari series An Elephant Attacked by Disease in the The large series of paintings is based on Form of a Multi-Headed Striped Demon 700 couplets, often in the form of Jaipur, 1824 alamkaras, figures of speech such as Page from a manuscript of the Gaja Salote similes and metaphors. (Elephant Manual) written by Shyam Vaid for Rao Asi Singh of Muktapur who 15022 Painting, India, Rajasthan presented it to Maharaja Ram Singh of Maharana Sangram Singh II (r. 1710-1734) Jaipur in 1824. Mewar, ca. 1720 The manuscript includes a treatise on elephant anatomy, recognition and 15023 Painting, India, Rajasthan treatment of elephant diseases, and Maharana Sangram Singh II at The descriptions of elephants from different Chaugan Watching the Tame Elephant parts of India. Raj Gak Defeating a Tiger Mewar, ca. 1725 15016 Painting, India, Rajasthan An inscription on the reverse names the Sati Throws Herself in the Sacrificial Fire horse rider as Ram Singh and the nobles of Her Father Daksha to Avenge a Slight as Rao Bakhat Singh, Maharaja Pratap to Her Husband Shiva Singh, Pancholi Kishandas, Tuar Kishan Jodhpur, ca. 1825 Singh, Chauhan Zoravar Singh, and This painting was done for Maharaja Man Sakhavat Shyam Singh. Singh II who felt slighted when the 15024 Painting, India, Rajasthan Deccani Paintings and Drawings Rawat Jaswant Singh, Chundavat of Devgarh, Smoking a Hookah 15028 Painting, India, Deccan Uniara, ca. 1765 Voyeurism and Masturbation at a Drug Jaswant Singh ruled Devgarh (r. 1737-76), Party a Mewar estate. The Chundawats were Aurangabad, ca. 1680 descendants of Chunda, eldest son of Rana Lakha who gave up right to 15029 Painting, India, Deccan succession as Mewar's ruler to his Ascetic beneath the Tree, Whose "Fruit" younger brother. Devgarh's powerful Were the People and Animals Grown to nobles were often at odds with the Populate his Alternate Universe Maharanas of Mewar. Maharana Ari Deccan, ca. third quarter 17th century Singh of Mewar made an unfortunate The inscriptions, read as "Iswar Nath" pun about a personal defect of Jaswant and "Akash Briccha", may be later. Singh, which led to the latter's support of the pretender Ratan Singh. A darbar scene 15030 Painting, India, Deccan depicting a white-haired Jaswant Singh is Mythical Bird from Astrological Treatise well known. Deccan, ca. 1750 This painting comes from a volume 15025 Painting, India, Rajasthan generally attributed to Hyderabad state. Dewan Dalpat Singh of Deolia Rajasthan, ca. 1840 15031 Painting, India, Deccan Dalpat Singh, grandson of the chief of Laksmana and his Wife Partabgarh, was adopted by the childless Deccan, ca. 1800 Maharawal Jaswant Singh of Dungapur. This lively devotional piece is decorated When Jaswant Singh was captured and with swiggles that spell out "Rama". dethroned by rebellious chiefs and Bhils, Dalpat Singh became regent. When 15032 Painting, India, Deccan Dalpat Singh succeeded his grandfather as Babhruvahana Shoots the “Ardha ruler of Partapgarh in 1844, Dungapur's Candrakrti Vana“ to Vrsaketu nobles protested that his power was too "Paithan" painting, mid-19th century great since he controlled two states. They Painting used by a wandering bard forced him to adopt the son of the Thakur (chitrakathi) at public performances. of Sabli to whom the Dungapur gaddi This is a folk painting, meant to be held passed, though Dalpat Singh tried to up during public performances. The continue to control both states. crude forcefulness in execution is typified Eventually the English removed him by the use of betal nut juice spat at the from power in Dungapur. painting to simulate blood. These The inscription refers to him as dewan paintings have generally been attributed or prime minister. The location Deolia to a place in Maharashtra called Paithan, refers to Partapgarh. which was then part of Hyderabad state. 15026 Painting, India, Rajasthan Other Paintings & Drawings Puja Rajputana, possibly Nathdvara or Mewar 15033 Painting, India, Northern India Krishna's Attack on Narakasura's Citadel, 15027 Painting, India, Rajasthan Pragjyotisa Three Men possibly Palam, ca. 1520-30 Rajputana, late 19th century Gouache, from The "Palam" Bhagavata The three man have Ramanaditilak Purana Illustrating Book X Chapter 59. marks. 15034 Painting, India drawings are incised with an iron stylus Battle Scene from The Ramayana and then color is applied. "Malwa", ca. 1620-40 The term "Malwa" is a generic term used 15038 Painting, India for paintings done in the 17th and 18th Coat of Arms century. Attribution to particular courts From an unidentified Indian State. is still problematic. At its greatest extent during Mughal times, the term “Malwa” Shadow Figures included part of Rajputana and sometimes even parts of Bundelkhand. 15039 Painting, India During the Raj, the term "Malwa Agency" “Tholu Bommalatta“ Style Shadow referred to part of Central India but did Figure of Ravana not include Datia, Narsingarh, and Andhra Pradesh Rajgarh. "Malwa" paintings have Ht: 68” sometimes been attributed to the ateliers This style often utilizes larger than life- of these states. size shadow figures. 15035 Painting, India 15040 Painting, India Krishna Bests the Jealous Brahma as “Togalu Gombe Atta” Style Shadow Described in Book X of The Bhagavata Figure of Nav Nari Kunjar, a Composite Purana Elephant Made Up of Nine Women "Malwa", ca. 1700 Karnataka Such a composite elephant was 15036 Painting, Nepal produced by the gopis to keep Krishna Krishna Is Besieged at Mathura by from leaving. The lead rider could be Kalayanvana and his Army of Mlechchas Krishna but he is bending a bow like that [Barbarians] Including a Redcoat with a of Kamadeva, the God of Love, who has Bow and Arrow also been portrayed on just such an Kathmandu, ca.
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