Art Passages

Vilaval Ragaputra, Son of Bhairava

from a Ragamala series
Himachal Pradesh, Bilaspur or Chamba, circa 1690-1710
Ink, opaque watercolor, and gold on paper
Folio 8 ½ x 6 1/8 in (21.5 x 15.5 cm)

Inscribed on the back in devanagari and takri as “Bilola (for Vilaval) son of Bhairava.” A third line identifies “Vilaval as the 7th son of Bhairava.”

A Ragamala text was composed by the poet Kshemakarna in 1570. His so-called Kshemakarna or “Mesakarna” System describes 6 ragas, 31 raginis and 49 ragaputras (sons) in two series of verses.

Paintings from this large Pahari series are noted for their subtle, attractive palette.  This set expands on the more common collection of 36 ragas along with raginis and includes ragaputras, sons of ragas. In an arched pavilion, the ragaputra s leans over and plays a sarod while his consort, arching her back in ecstasy, plays along with cymbals. Their faces and figures are delicately rendered with a precise line.  The composition’s lively use of color and the highly ornamented and detailed architecture are hallmarks of the Deccani influence on Pahari paintings towards the end of the 17th century.

Ebeling in his important volume on Ragamalas includes a group of drawings demonstrating the specific iconography found in that region. His example for Vilaval is similar to this in composition although the ragaputra plays a tambur and not a sarod as he does here. He also plays to another man and not a woman. Ebeling gives a verse from Mesakarna’s text:

Verse 24: A fair skinned man in a white garment, with a jeweled crown, cymbals, and tambourine.

Taken from Klaus Ebeling, Ragamala Painting, Basel, Paris and New Delhi: Ravi Kumar, 1973, p. 72.

Provenance: Mandi Royal Collection, inventory no. 2214

Other paintings from this set are in various collections including:

E. Binney, Rajput Miniatures from the Collection of Edwin Binney 3rd, Portland 1968, nos. 70a&b

W.G. Archer, Indian Paintings from the Punjab Hills, London, New York, Sotheby Parke Bernet, 1973, vol.1 p. 231, no. 8 (i-iii), & vol. II, p.172.

Pratapaditya Pal, The Flute and the Brush: Indian paintings from the William Theo Brown and Paul Wonner Collection, Newport. Connecticut: Newport Harbor Art Museum, 1976, no. 29.

Daniel J. Ehnbom, The Ehrenfeld Collection, New York: Hudson Hills Press, 1988, no 105.

Michael Lerner, The Flame and the Lotus: Indian and Southeast Asian art from the Kronos collections, New York: Metropolitan Museum of Art: H.N. Abrams, 1984, no. 62.

Alice N. Heeramaneck, Masterpieces of Indian Painting from the Former Collections of Nasli Heeramaneck, distributed by Advent Books, New York, 1984, nos105-108.

Art Passages

Shoshara ragaputra, son of Malkos

from a Ragamala series
Himachal Pradesh, Nurpur, circa 1740
Ink, opaque watercolor, and gold on paper
Folio 8 3/4 x 7 1/2 in (22.2 x 19 cm)
Painting 6 1/8 x 5 7/8 in (15.5 x 15 cm)

Ragaputra Shoshara of Malkos, sometimes referred to as Khokara putra, belongs to the Malkos raga family. According to Mesakarna, the visual representation for this ragaputra is represented by “a man dancing happily, in loose-fitting garments, to the music of clouds (thunder?) and the beat of drums.” (Ebeling, Ragamala Painting, p. 74) The artist has interpreted this description differently: here, three acrobats are shown engaged in physical exercises. The central figure is entwined around a pole. Visually it bears a similarity to the Rajasthani iconography depicting Desakh ragini, which almost always is represented by acrobats or wrestlers.

Ebeling has the name of the ragaputra as Khokhar or Shoshar of Malkos, number 386, p. 296 has similar iconography with the acrobat on a pole and figures to each side.

Mesakarna describes it as “a man dancing happily, in loose fitting garments, to the music of clouds (thunder?) and the beat of drums.” There is a drum in the Ebeling Pahari drawing.

Klaus Ebeling, Ragamala Painting, Basel, Paris and New Delhi: Ravi Kumar, 1973, p. 296.

R.K.Tandan, Pahari Ragamalas, Bangalore: Natesan Publishers, 1983, fig. 24 (illustrated)

Francesca Galloway, Indian Decorative Arts and Paintings from Private Collections, London, 2023, No. 10.

The Tanden Collection sale, Saffronart, 14 December 2014, lot 16 where it is labeled: https://www.saffronart.com/customauctions/PostWork.aspx?l=19878&eid=3746&lotno=16&n=16

Art Passages

Shiva and Parvati Flee from the Demon Bhasmasura

from a Bhasmasura series
India, Uttarakhand, Tehri-Garhwal, circa 1830
Ink, opaque watercolor, and gold on paper
Folio 11 x 7 7/8 in, 28 x 20 cm

The full story of the asura Bhasma (`Ash-demon’) does not appear in the puranas and seems to have been pieced together from various stories of asuras and the tale of Shiva’s lust for Mohini and likely reflects an oral tradition. A series of at least nine paintings appear to have illustrated the tale, which Jeremiah Losty studied in the citation below.

The story depicted in these nine paintings starts with the demon Bhasmasura spying on Shiva and Parvati resting in their cave, starts to desire Parvati for himself. In his pursuit of Parvati, Bhasmasura performs a series of devotional acts to win Shiva’s favor and eventually asks him for a boon. Shiva grants him a magical bangle that when it touches anyone on the head, he or she would immediately be reduced to ashes.

In this scene, Bhasmasura decides to use the boon on Shiva with the hope of taking Parvati for himself. The holy couple seeing him running toward them with his arm extended waving the magical bangle, set to flee as fast as they can. In his haste, Shiva drops his damaru or drum and lota or water-pot. His mount Nandi keeps pace with his lord.

For Jeremiah Losty’s discussion of the series see:
https://www.academia.edu/5724099/The_Story_of_Bhasmasura

Art Passages

The Demon Bhasmasura Dances for Mohini

From a Bhasmasura series
India, Uttarakhand, Tehri-Garhwal, circa 1830
Ink, opaque watercolor, and gold on paper
Folio 11 x 7 7/8 in, 28 x 20 cm

Shiva prayed to Visnu for help, and Visnu duly appeared as the beautiful divine enchantress Mohini.  The demon was so bewitched by her that he stopped chasing Siva and Parvati.

In the scene depicted here, Mohini having danced for Bhasmasura, challenges him to repeat her movements. Unsuspecting, Bhasmasura, imitates Mohini’s gestures including her last act of touching her head. He raises his right hand holding his magic bangle as he touches his head and begins to burn to ashes.

As seen in catalogue number 7, the artist sets the action in a lush environment with flowers and trees typical of many paintings from Tehri-Garhwal and other Pahari artistic centers.

For Jeremiah Losty’s discussion of the series see:
https://www.academia.edu/5724099/The_Story_of_Bhasmasura

Art Passages

Krishna as Shri Nathji

Rajasthan, Mewar, Nathdwara ca. 1830
Ink, opaque watercolor and gold on paper
Folio 8 1/4 x 5 3/4 in (21 x 14.6 cm)
Shri Nath ji: ko pramodani ke uchavakosigirahe

The inscription actually refers to ornamentation (shringar) of Srinathji. In particular, adornment with flowers and ornaments, meant to bring joy. This type of ornamentation is termed pramodini shringar.

It probably reflects the festival of Kunj-ekadashi which often displays a little figure below the main statue. A painting in the Metropolitan Museum of Art in New York City, cited below, is very close in detail, but there is no small figure. Kunj Ekadashi is a significant Hindu festival associated with Lord Krishna and is part of the Dol Utsav and Holi festival. It is observed on the 11th day of the lunar month (ekadashi) during the Shukla Paksha (waxing phase of the moon) and is believed to be a day when Lord Krishna visits the garden (kunj) prepared for the Dol festival. The festival involves colorful festivities and is of great significance in the Nathdwara region of Rajasthan.

The festival is a time for devotees to engage in various rituals and celebrations, including the offering of prayers and the performance of various rituals to honor Lord Nathji. The festival is a testament to the deep-rooted cultural and religious significance of the Nathdwara region and the devotion of the people to Lord Nathji.

For the Metropolitan Museum painting see: https://www.metmuseum.org/art/collection/search/72719

Art Passages

Vishvarupa

India, Rajasthan, Kotah ca. 19th century
Ink, opaque watercolor and gold on textile
Measures 31 x 19 1/2 in (79 x 50 cm)

Vishvarupa, also titled Virata Swarupa (having all shapes or universal form), is a depiction of Vishnu turned into a description of the universe. It refers to Kṛṣṇa’s transfiguration for Arjuna in the Bhagavadgītā, chapter XI, when asked to reveal his true nature. The depiction includes a lot of iconography concerning the Hindu god, Vishnu, Krishna’s true essence. At the very bottom Kurma, the small tortoise with Shesha the snake above him. To each side of the legs are the chariots of the Kauravas and the Pandavas who are about to begin the battle of the Mahabharata.

Above the armies with weapons and in chariots, Vishnu on Sesha is seen to the left and Shiva atop Mount Kailasa is seen on the right. a figure of Brahma is seen in the middle where Krishna’s sex should be. At Vishvarupa’s waist is a scene of the Krishna Maharasa dance, he dances in a circle with the gopis, the cow-maidens. This is topped by the range of mountains with Sumeru, the center of the universe, which is topped by another Brahma figure. Bands of the heavens stretch across his shoulders.

His seven heads fan out and other heavenly bands form his crown. His ten arms are decorated with river symbolism. The figure is then superseded by two realms in oblong form.  The lower one has Radha-Krishna in a palace interior flanked by gods. The upper one has scenes from Krishna as Shri Nath-ji: in the lower register to the left with his stepparents, Nanda and Yashoda and to the right as young cow-herder with gopas. In the Upper scene Krishna as Shri Nath-Ji is circled by dancing gopis, To the left Krishna and Radha sit in a courtyard.

The animal headed figures standing to each side are the Vedas, the ancient religious texts of India.  The oval around the standing main image represents the Hiranyagarbha, the golden-womb of the cosmos.

The Hindu conception of the universe as a man ultimately goes back to a hymn in the Ṛgveda, the well-known “Puruṣasūkta”, Ṛgveda X.90. See: Wendy O’Flaherty, The Rig Veda: an Anthology, London: Penguin Classics, 1981, pp. 29–31).

For a similar depiction on cloth, see: James Bennett, ed., Realms of Wonder, Adelaide: Art Gallery of South Australia, 2013, Plate 47, pp. 94-95.

Other examples are in Joan Collins, ed., Vishnu: Hinduism’s Blue Skinned Savior, Ahmedabad: Mapin Publishing, 2012, Nos. 131-33, pp. 218-21. No 133 is the closest to our example and also is painted on cloth.

Art Passages

Composite Durga

West Bengal, Kolkata, circa early 20th century
Ink, colored wash, and seed pearls on paper
Folio 18 x 14 ¼ in (45.7 x 36.2 cm)

In contrast to the classical depiction of the goddess in which she is usually depicted in action against the Asuras or demons, in this modern rendition of the goddess, she is situated as an icon of worship.

The impressive goddess and her vahana or vehicle are placed in a temple setting under an elaborate gilded archway supported by a guard on either side. Two celestial figures hover in the air over her shoulders emptying pots of flower petals. Offerings are at her feet: a lota or water pot with leaves, a shankha or conch, a dipa or lamp with twelve flames and a covered pot. These were then adorned with seed pearls as are elements of the Goddess’ halo and jewelry and parts of her club.

Durga herself is a beautiful woman exhibiting a serene demeanor contrasting with the serpentine locks of her hair. She displays gods on her forearms with two Vaishnava forms prominent, being blue skinned, along with other figures on her various forearms. Shiva adorns her chest and Brahma her right thigh while Vishnu adorns her left thigh with many other figures on her body.

Her weapons include talwar or sword with a snake on its blade, a padma or lotus, a cakra or discus, and her righthand in abhayamudra, a gesture of assurance, her open palm with the sacred syllable aum written in red to her right and a shankha or conch, a dhanusha or bow, a trishula or trident, and a gada falling to the ground on her left side. These were all attributes given to the Goddess by the gods when they were up against an unbeatable foe.

Her lion who is made up of many figures including the Shiva, Ganesha, Hanuman, Rama, as well as sages and epic heroes. His backside and legs are made up of animals with the sage Narada with his vina and the Pandava brother Bhima with his gada or club. He sports a menacing cobra for its tail.

Art Passages

Red Sandstone Pierced Screen Jali

Mughal, North India, circa 1^st half of the 17^th century
40 3/4 x 33 x 2 1/2 in (103.5 x 84 x 6.3 cm)

A jali screen of repeated hexagons each containing a cluster of small hexagons surrounding a central six-pointed star. This identical design is found on the outside walls of Itimad ud-Daulah’s tomb in Agra (1622–28). The design continues to be used in the Shah Jahan Period (1628-58) where examples can be found at the Taj Mahal (1632-43) as well as at the Agra Fort. Larger sandstone jails in this design are on the main gateway of the Taj Mahal, Darwaza-i-Rauza.

For references see: Navina Najat Haidar et al. Jali Lattice of Divine Light in Mughal Architecture, Ahmedabad: Mapin Publishing 2023 and George Michell, Will Kwiatkowski, and Jay Bonner, Red Stone Indian Stone Carving from Sultanate and Mughal India, London: Sam Fogg and Francesca Galloway, 2012.

Art Passages

Red Sandstone Floral Panel

Mughal, North India, circa late 17^th century
30 1/2 x 22 x 1 5/8 in (77.5 x 56 x 4 cm)

This elaborately floral jali consists of sinuous leaves and flowers and was ultimately derived from European sources, the botanical books that were brought to India. The design is dominated by a large flowering iris plant issuing from an elaborate leafy wreath set within a cusped arch further topped with an iris flower. The spandrels are filled with a leafy plant surrounding a large four-petal rosette at the center.

For references see: Navina Najat Haidar et al. Jali Lattice of Divine Light in Mughal Architecture, Ahmedabad: Mapin Publishing 2023 and George Michell, Will Kwiatkowski, and Jay Bonner, Red Stone Indian Stone Carving from Sultanate and Mughal India, London: Sam Fogg and Francesca Galloway, 2012.

Art Passages

Pair of Gilt Silver Palanquin Pole Ends in the Shape of Makaras

South India or Deccan, circa 1800
15 1/4 x 4 in (39 x 10 cm)

Makaras are fantastical sea-creatures abundant in Hindu mythology. They are often depicted with head of a crocodile with a snout resembling an elephant trunk, and tail of a fish. They appear as the vehicle vahana of goddess Ganga and the sea god Varuna. They are usually presented at temple gateways acting as guardians against evil spirits. In this role as a powerful protective and auspicious symbol, they are displayed as pole ornaments in palanquins carrying rulers and important people. Elaborate ones such as these made of silver and gilded conveyed the wealth and power of the individual employing them.

Art Passages

Engraved Brass Ewer Aftaba

North India or Lahore, circa 1700
12 3/8 x 8 1/2 (Spout to Handle) in (31.5 x 21.5 cm)

This remarkable ewer of pear shape is related to a small group of engraved brass ewers attributed to Lahore as the place of manufacture by Stephen Markel. All the ewers in this group tend to be pear shaped and their surfaces engraved and filled with lac, usually black.

The ewer sits on a hexagonal pedestal base and rises to a gadrooned teardrop-shaped body with a faceted hexagonal neck column supporting a dome-like lid. The vertical surface bands are decorated alternatively with floral scrolls and flowering sprigs. The S-curved spout is engraved with bands of leaflets and terminates in a budding rosette which supports a raised opening. The S-curved handle is similarly decorated with rows of leaflets.

For references see: Stephen Markel, Mughal and Early Modern Metalware from South Asia at LACMA: An Online Scholarly Catalogue, Los Angeles, Los Angeles County Museum of Art, 2020 and Mark Zebrowski, Gold, Silver & Bronze from Mughal India, London, Alexandria Press, 1997, pls. 227, 228 and 232.