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Oliver Forge and Brendan Lynch Ltd.
Kapoor Galleries
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Indian, Himalayan &
Southeast Asian Art
Southeast Asian Art
‹
Indian, Himalayan & Southeast Asian Art
Francesca Galloway
LONDON LOCATION
Floor 1
31 Dover Street
London W1S 4ND
United Kingdom
T +44 07 499 6844
christine@francescagalloway.com
francescagalloway.com
Instagram: @francescagalloway
The Coronation of Rama, based on the description in the Yuddhakanda of the Ramayana, ch. 130, Mandi circa 1840, opaque pigments, with gold and silver;
within a gold oval border with white rules.
Spandrels decorated with large flowers against a blue ground. Outer gilt border
with a European style scrolling floral design with peonies. Black and yellow rules.
Folio 51.2 × 41.5 cm; Painting 45 × 37 cm
The Coronation of Rama, based on the description in the Yuddhakanda of the Ramayana, ch. 130, Mandi circa 1840, opaque pigments, with gold and silver;
within a gold oval border with white rules.
Spandrels decorated with large flowers against a blue ground. Outer gilt border
with a European style scrolling floral design with peonies. Black and yellow rules.
Folio 51.2 × 41.5 cm; Painting 45 × 37 cm
Floorspread with Medallion Pattern, Mughal, Gujarat, second half of the 17th century, silk velvet, solid pile and pile-warp substitution, 303 × 181 cm
Floorspread with Medallion Pattern, Mughal, Gujarat, second half of the 17th century, silk velvet, solid pile and pile-warp substitution, 303 × 181 cm
Bust portrait of a prince, probably Muhammad Sultan, the son of Aurangzeb, imperial Mughal, probably by Hunhar, circa 1670, opaque pigments with gold on paper
Laid down in an album page with calligraphy on the reverse
Folio: 31.6 x 23.5 cm; Painting 22 x 14.4 cm
Bust portrait of a prince, probably Muhammad Sultan, the son of Aurangzeb, imperial Mughal, probably by Hunhar, circa 1670, opaque pigments with gold on paper
Laid down in an album page with calligraphy on the reverse
Folio: 31.6 x 23.5 cm; Painting 22 x 14.4 cm
Court, Epic, Spirit: Indian Art 15th-19th Century
Court, Epic, Spirit presents a variety of artworks including textiles, paintings, and courtly objects. Grounding the works in their historical context, the selection will offer insights into artistic and cultural movements in India during this time.
The title of the exhibition refers to three key lenses through which to view the multi-faceted and extraordinarily inventive arts of India: court, epic, spirit. With these organizing principles as a guide, the exceptional and iconic works of art in the installation can be more fully considered and understood.
Enhancing the artworks in the exhibition are an online catalogue, available on the gallery's website. Also provided is a video that features poet, art critic, and curator Ranjit Hoskote as he reads from his essay The Epic is Never Over. Hoskote invokes the figure of the dastango or storyteller and touches on key works on display depicting scenes from epic texts.
Read about coverage of this show in The New Yorker, click here and a review by David Carrier in Hyperallergic entitled Painting that Exhilarates the Eye and Mind, click here.
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