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Sacred Art of Asia > Indian Miniatures (26)

  • <div class="footer"><p><strong>SADASIVA ON ‘NANDI’ BULL (# 2512/3) </strong></p><p>OPAQUE WATERCOLOR AND GOLD ON PAPER </p><p>KANGRA SCHOOL (JAMMU) </p><p>CIRCA 1820 AD </p><p>16.5 cm x 20.3 cm/ 6.5” x 8.0” </p><p><strong>EXHIBITED: </strong></p><p>Ithaca College Museum of Art Ithaca, New York, 1971 </p><p>Lycoming College Gallery, Williamsport Pennsylvania, 1981 </p><strong>DESCRIPTION: </strong>“Sadasiva," the transcendental eternal. Shiva is shown eight-armed, dressed in diaphanous white embroidered robes, seated in a ‘Vira’ (right leg on left thigh) position on a bed of lotus pedals which rest on the back of a richly caparison Nandi bull. The tonality of the painting is in sharp contrast; the rocky soil of the foreground, with sparse vegetation, is offset by a brilliant orange sky against which the figure of Sadsiva and Nandi are placed. Upon the five heads rest a Jata crown with a brilliant white nimbus edged in gold rays. The right hands hold trident, drum, ankusa (elephant goad), and noose. The left hands hold rosary, lotus blossom, Sula (a ritual wand for protection) and a fruit. The painting is executed with extremely fine detailed and craftsmanship.</div><script> <!--<br/> function popupwin(filename,windowname,properties) { mywin = window.open(filename,windowname,properties); } <br/>// --><br/> </script>
  • <div class="footer"><p><strong>MAHAVIRA ENTHRONED (#2513/5) </strong></p><p>OPAQUE WATER COLOR AND GILT ON PAPER </p><p>RAJASTAN SCHOOL (IN KISHAYARK) </p><p>CIRCA 1700-1800; The throne in gold may have been executed as early as 1700, the surrounding figures , the green and blue surround and the floral design may have been added later in the early 1800’s? </p><p>32.7cm x 45.7<strong>/</strong>12.9” x 18.0” </p><p><strong>EXHIBITED: </strong></p><p>Ithaca College Museum of Art Ithaca, New York, 1971 </p><p>Lycoming College Gallery, Williamsport Pennsylvania, 1981 </p><p><strong>DESCRIPTION: </strong>A Jain painting with 21 Tirthankaras . The composition is organized to emphasize the throne portion of the painting with the surrounding figures confined. Mahavira , the largest figure encrusted with jewels dominates in black. The diminutive cognizance associated with the Tirthankara is on the base of the pedestal on which he rests. At the base of the altar are the Hindu deities which appear as subordinate gods and goddesses in the Jain pantheon. Before the altar two devotees wave white fly whisks; both the male and female are exact in all detail, both physiognomic and ornamental. Both are richly adorned with jewelry. In the foreground is a hexagonal table on a foliate pattern floor.  Above, two winged fairies, supported by the wind which makes their skirts balloon, sprinkle the altar with blessings. The sun and moon are shown with faces. </p></div><script> <!--<br/> function popupwin(filename,windowname,properties) { mywin = window.open(filename,windowname,properties); } <br/>// --><br/> </script>
  • <div class="footer"><p><strong>VARUNA ON THE CROCODILE (#2513/6) </strong></p><p>OPAQUE WATERCOLOR AND GILT ON PAPER </p><p>NATHAWARA SCHOOL (RAJASTAN) </p><p>CIRCA 1800 </p><p>31 cm x 41.25 cm<strong> /</strong>12.25” x 16.25” </p><p><strong>EXHIBITED: </strong></p><p>Ithaca College Museum of Art Ithaca, New York, 1971 </p><p>Lycoming College Gallery, Williamsport Pennsylvania, 1981 </p><p><strong>DESCRIPTION: </strong>Varuna, one of the oldest of the Vedic gods, is god of water and the guardian of the west-quarter. His images not commonly seen, but in paintings he is shown as a white man. In depicting, Varuna holds either a noose or lotus, with a crocodile as a vehicle, and with two or four hands. In this painting Varuna is seen on his vehicle Makara crocodile, holding a lotus in his upper right hand and a kalash (holy vase) in his left hand. This in Hindu worship is representative as a personification of a deity. Varuna is robed in a white diaphanous garment enhance with gold embroidery, His hands are colored with henna; his arms with bracelets; his aureole a brilliant green surrounded with bursts of gold . The crocodile wears two bands of necklaces.  The ground is a marsh with lily pads; the sky a rich, dark blue. The figure of the crocodile spills out of the frame into the yellow foliate border and the surrounding red painted band. <br /><br />Placed Private Collection</p></div><script> <!--<br/> function popupwin(filename,windowname,properties) { mywin = window.open(filename,windowname,properties); } <br/>// --><br/> </script>
  • <div class="footer"><p><strong>KRISHNA </strong><strong>AND RADA 2513/9 </strong></p><p>OPAQUE WATERCOLOR ON PAPER </p><p>RAJASTHAN SCHOOL </p><p>CIRCA LATE 18<sup>TH</sup> CENTURY </p><p>17.5 cm x 23.5 cm<strong> / </strong>6.875” x 9.25” </p><p><strong>EXHIBITED:</strong> </p><p>Ithaca College Museum of Art Ithaca, New York, 1971 </p><p>Lycoming College Gallery, Williamsport Pennsylvania, 1981 </p><p><strong>DESCRIPTION: </strong>The painting depicts Krishna and Rada, on a full flowering lotus with Nandi bull, surrounded by luxurious foliate.</p></div><script> <!--<br/> function popupwin(filename,windowname,properties) { mywin = window.open(filename,windowname,properties); } <br/>// --><br/> </script>
     
  • <div class="footer"><div class="footer"><div class="footer"><p><strong>KHISHINA AS SHRI NATHJI (#2513/13) </strong></p><p>OPAQUE WATERCOLOR ON PAPER </p><p>RAJASTAN SCHOOL ( KOTA) </p><p>CIRCA 1850 </p><p>26cm. x 34 cm /.10.2” x 13.3”. </p><p><strong>EXHIBITED: </strong></p><p>Ithaca College Museum of Art Ithaca, New York, 1971 </p><p>Lycoming College Gallery, Williamsport Pennsylvania, 1981 </p><p><strong>DESCRIPTION: </strong>Khishina is depicted as Shri Nathji and his image is presented in a typical stiff frontal pose. The stance, with blue upraised arm, a single blossom held in his hand. His right arm is bent, hand clasping a full blown lotus. His turban and torso covered with garlands and long strands of pearls, braclets and anklets. He stands on a footed stand before a rose striped stele. The upraised arm symbolizes Shrinathji lifting Mount Govardhana to protect the residents of Rindayan from Indra’s destructive rains. The central image is flanked by devotees, one carrying a lamp, the other holding a whisk .The figures of the devotees are exact in detail , both physiognomical and ornamental. The priest at left faces the central image, performing <em>arati </em>(ritual devotion) with a lamp of five flames held before him. He wears a saffron yellow dhoti and scarf, has Vaishnava tilak marks on his face and is embellished with strings pearls, armbands and bangles. The male figure on the right , more simply adorned , holds an ornate whisk. The painting combines Europeanized elements and style with typical Kota treatment.. “ Shri Nathaji carries a twofold meaning: Natha is the name of the husband of Shri (Lakshmi), as well as the Lord (Natha) of the town Nathadwara, a renown Vaishnava pilgrimage center.”</p></div></div><script> <!--<br/> function popupwin(filename,windowname,properties) { mywin = window.open(filename,windowname,properties); } <br/>// --><br/> </script></div><script> <!--<br/> function popupwin(filename,windowname,properties) { mywin = window.open(filename,windowname,properties); } <br/>// --><br/> </script>
  • <div class="footer"><p><strong>ASTROLOGICAL DIAGRAM (# 2513/15)</strong> </p><p>TEMPERA AND INK ON PAPER </p><p>RAJASTAN TANTRIC SCHOOL </p><p>CIRCA 18TH CENTURY (1810-1825) 21.5 cm. x 25.5 cm / 8.4” x 10” </p><p><strong>EXHIBITED:</strong> </p><p>Ithaca College Museum of Art Ithaca, New York, 1971 Lycoming College Gallery, Williamsport Pennsylvania, 1981 </p><p><strong>DESCRIPTION:</strong> The astrological diagram was used for casting the future; a form of dice were involved. The four houses containing numbers (at the corners of the diagram) were the keys to accessing the diagram once the dice were cast. Mantras occupy the corners just outside of the circle; between the houses of numbers and the circle; the face in the center of the circle is surrounded by the names of deities.</p></div>
  • <div class="footer"><div class="footer"><p><strong>DEMONIC FIGURES AND DEITIES (# 2513/16) </strong></p><p>TEMPERA ON PAPER </p><p>RAJASTAN FOLK ART SCHOOL </p><p>CIRCA 19<sup>TH</sup> CENTURY</p><p>EACH 12 cm x 26 cm </p><p><strong>EXHIBITED </strong></p><p>Lycoming College Gallery ;Williamsport, Pennsylvania; 1981 </p><p><strong>DESCRIPTION: </strong>As example of the character of the Hindi; rough transliterations and translations of the writing are below: </p><p>Top Painting Second Painting </p><p>GURU-KA HI NO WUJAJA KARTA PRA? PRA - LA PHE MA PHAL MUSH BO? <br />TEACHER- TELL ME WHAT GOOD DO YOU WISH FOR ? QUESTION<em> -</em>WHEN WILL THE SEED RIPEN? <br /><br />NARTHMUL - KAM WA GHAR BANGLA UTAR - KE SAKINAR RE PHAL JAY NAR KA ME NUPA NO JIRPA <br />KATRITAN <br />A JOB AND A HOUSE NOT UNTIL YOU SOW THE SEED WITH FULL FAITH! </p><p><em>WATA </em>- LO PI YO TIR SUL <br />A BLESSING -TAKE CARE OF IT! </p></div><script> <!--<br/> function popupwin(filename,windowname,properties) { mywin = window.open(filename,windowname,properties); } <br/>// --><br/> </script></div><script> <!--<br/> function popupwin(filename,windowname,properties) { mywin = window.open(filename,windowname,properties); } <br/>// --><br/> </script>
  • <div class="footer"><p><strong>CORONATION OF THE LORD RAMA(#2514/16)</strong> </p><p>WATER COLOR AND GILT ON PAPER KANGRA SCHOOL </p><p>CIRCA EARLY 19TH CENTURY (1810 - 1825) 20.3 cm x 24.7 cm / 8.0” x 9.75” </p><p><strong>EXHIBITED:</strong></p><p> Lycoming College Gallery;Williamsport, Pennsylvania, 1981 </p><p><strong>DESCRIPTION:</strong> In an poetic composition; Rama and Sita are sitting with the gods, Brahamas , Shiva, the moon, the sun and all the Rishis paying their respects, whereas their devotee, Hanuman is sitting at the feet of Lord Rama. The other brothers, Laaxmana, Bharat and Shatrugana are standing behind as ideal brothers. The legs of the throne rests on a geometrical shaped floral gray carpet.. The figure are richly clothed; most with jewelry and crowns The background sky, a rich bright red color gives way to clouds and blue gray in it upper reaches. The scene is set in an oval shaped composition with a rich foliate surrounding.</p></div>
     
  • <div class="footer"><p><strong>KHISHINA AS SHRI NATHJI (#2514/17) </strong></p><p>OPAQUE WATERCOLOR ON PAPER</p><p>RAJASTHAN SCHOOL (NATHADWARA) </p><p>CIRCA 19<sup>TH</sup> CENTURY </p><p>4.5 “x 7.25” </p><p><strong>EXHIBITED: </strong></p><p>Lycoming College Gallery , Williamsport Pennsylvania, 1981 . </p><p><strong>DESCRIPTION: </strong>Khishina depicted as Shrinathji with the upraised arm symbolizing Shrinathji lifting Mount Govardhana to protect the residents of Vrindayan from Indra’s destructive rains. The figure is shown holding lotus flowers and is richly adorned with a beaded necklace and peacock feather cap with a background of a rich embroidered tapestry<strong>. </strong></p><p>Placed in private collection</p></div>
  • <div class="footer"><p><strong>SHIVA’S FAMILY (#2514/18)</strong></p><p>OPAQUE WATERCOLOR ON PAPER </p><p>JODHPUR SCHOOL </p><p>CIRCA MID 19<sup>TH</sup> CENTURY </p><p>17.5 cm x 23.5 cm<strong> / </strong>7.00” x 9.25”</p><p><strong>EXHIBITED</strong></p><p>Lycoming College Gallery, Williamsport, Pennsylvania 1981</p><p><strong>DESCRIPTION:</strong> Shiva seated against a flowering tree. Parvati on the left; their heads surrounded by nimbuses, their elephant- headed son also on the left snakes and a bounding antelope grace the scene with indications of a palace set in the distance against a setting sun.</p></div><script> <!--<br/> function popupwin(filename,windowname,properties) { mywin = window.open(filename,windowname,properties); } <br/>// --><br/> </script>
  • <div class="footer"><p><strong>SHIVA’S FAMILY (# 2520/4) </strong></p><p>OPAQUE WATERCOLOR/ GILT ON PAPER </p><p>JODHPUR SCHOOL </p><p>CIRCA MID 19<sup>TH</sup> CENTURY </p><p>23 cm x 30. 5 cm / 9.0” X 12.0” </p><p><strong>EXHIBITED: </strong></p><p>Lycoming College Gallery; Williamsport, Pennsylvania; 1981 </p><p><strong>DESCRIPTION:</strong> Shiva is depicted seated on a tiger skin, and Parvati is seated on the right on what appears to be a bed of lotus petals, their heads surrounded by gold rayed nimbuses. Shiva’s vehicle, Nadi bull and Parvati’s tiger recumbent in the foreground. Seen in the background ; a large Banyan tree, a town, resting in the setting sun. </p></div><script> <!--<br/> function popupwin(filename,windowname,properties) { mywin = window.open(filename,windowname,properties); } <br/>// --><br/> </script>
  • <div class="footer"><div class="footer"><p><strong>KALI ON SIVA/SAVA (#2520/5) </strong></p><p>OPAQUE WATERCOLOR/GILT ON PAPER </p><p>KANGRA SCHOOL </p><p>CIRCA 1800 </p><p>20 cm x 28 cm<strong> / </strong>8.0” x 11” </p><p><strong>EXHIBITED: </strong></p><p>Lycoming College Gallery; Williamsport, Pennsylvania 1981 </p><p><strong>DESCRIPTION: </strong> In this painting , Sakti is Kali, the Dark Goddess, the primordial power. Siva the corpse (Sava), lies supine on the funeral pyre in the cremation ground. The moment Kali, stepping lightly, lowers her raised foot and touches his chest, the corpse stirs; instilled with new life, he is Siva the beauteous god. Kali's four hands hold a lotus, shears, sword and severed head and wears a cotton doti, garland with human heads, golden arm bands and bracelets. In the near background two jackals and two attendants wait in anticipation. </p></div></div><script> <!--<br/> function popupwin(filename,windowname,properties) { mywin = window.open(filename,windowname,properties); } <br/>// --><br/> </script>
     
  • <p><strong>BLACK AND GRAY BHAIRAVAS (# 2520/6) </strong></p><p>OPAQUE WATER COLOR ON BOARD </p><p>PAHARI SCHOOL </p><p>CIRCA MID 19<sup>TH</sup> CENTURY </p><p>14 cm x 18,5 cm / 5.50” x 7.25” </p><p><strong>EXHIBITED </strong></p><p>Lycoming College Gallery; Williamsport, Pennsylvania; 1981 </p><p><strong>DESCRIPTION: </strong>The two Bhairavas sitting posed on a ‘sham-sham’. The Bhairavas each with a third eye hold in their four arms symbols of Shiva. In the foreground are two jackals, rocks and the figure of Kali. The painting is encompassed in an oval format with colored foliate spandrels.</p>
  • <div class="footer"><div class="footer"><p><strong>THE GODDESS DURGA ATTACKING A DEMON (#2520/7)</strong></p><p>GOUACHE ON BOARD </p><p>JAPIUR SCHOOL</p><p>CIRCA 1840 </p><p>21 cm x29.8 cm<strong> /</strong>8.25” x 11.75 </p><p><strong>EXHIBITED</strong></p><p>Lycoming College Gallery; Williamsport, Pennsylvania 1981</p><p><strong>DESCRIPTION: </strong>The painting depicts the goddess Durga attacking a Demon<strong>: </strong>The inscription covered by the matte translates <em>“then the goddess that is Durga hit </em><em>the devil with the trident”.</em> The goddess seated on her vehicle, a pouncing lion, is attacking the green-skinned demon being taken into the fray in a chariot drawn by two red horses. The landscape is developed in muted earth tones; the sky lowering. In the background in the landscape is Mount Kailasa.</p></div></div><script> <!--<br/> function popupwin(filename,windowname,properties) { mywin = window.open(filename,windowname,properties); } <br/>// --><br/> </script>
  • <div class="footer"><p><span class="sizeLess20">A HOLY MAN AND A DISCIPLE (#2520/8) </span></p><p><span class="sizeLess20">OPAQUE WATERCOLOR PAPER </span></p><p><span class="sizeLess20">KANGRA SCHOOL </span></p><p><span class="sizeLess20">CIRCA 1820 </span></p><p><span class="sizeLess20">23.5 cm x 30.5 cm /9.25” x 12” </span></p><p><span class="sizeLess20">EXHIBITED </span></p><p><span class="sizeLess20">Lycoming College Gallery; Williamsport Pennsylvania, 1981 </span></p><p><span class="sizeGreater20"><span class="sizeLess20">DESCRIPTION: The yogi sitting cross-legged conversing with a younger man on the banks of a placid stream in a pastoral setting, The scene is set in an extremely fine detailed landscape against a luminous sky in the style of the Kangra school of painting.</span> </span></p></div>
  • <div class="footer"><p><strong>SADHYA RAGA (#2521/1) </strong></p><p>OPAQUE WATERCOLOR ON PAPER </p><p>RAJASTHANI SCHOOL; BAHADI STYLE</p><p>CIRCA 1800</p><p>15.25 cm x 23 cm /6.00” x 9.00” </p><p><strong>EXHIBITED:</strong></p><p>Lycoming College Gallery, Williamsport, Pennsylvania; 1981</p><p><strong>DESCRIPTION: </strong>Sadhya Raga is shown personified as a period of the day. The figure rests in a bleak desert landscape with little relief.  In the background is a distant mountain range with cumulus clouds against a deep blue sky.</p></div><script> <!--<br/> function popupwin(filename,windowname,properties) { mywin = window.open(filename,windowname,properties); } <br/>// --><br/> </script>
     
  • <div class="footer"><p><strong>SHIVA’S FAMILY-TANTRIC PAINTING (#2521/2)</strong></p><p>GOUCHE ON BOARD</p><p>MONGUL SCHOOL/TANTRIC </p><p>CIRCA 1820 </p><p>15,25 cm x 24.75 / 6.00” x 9.75”</p><p><strong>EXHIBITED</strong></p><p>Lycoming College Gallery; Williamsport Pennsylvania, 1981</p><p><strong>DESCRIPTION: </strong>Shiva seated on a tiger skin with heavily robed , multi- armed Parvati behind him playfully closing the eyes of his heads with her hands. Their elephant headed son Ganesh is seated on Shiva’s lap. On Shiva’s body are the Tantric - Yoga -Asana symbols assumed before mediation. Recumbent, on grass, in the foreground are their vehicles; Shiva’s Nadi bull and Parvati’s tiger. Shiva and Parvati are seated against a symbolic Mount Kailasa . In the background are pavilions and a rising mound of grass set in the light of a waning day.</p></div><script> <!--<br/> function popupwin(filename,windowname,properties) { mywin = window.open(filename,windowname,properties); } <br/>// --><br/> </script>
  • <div class="footer"><p><strong>RAHA AND KRISHNA EMBRACING (# 2523/3) </strong></p><p>OPAQUE WATERCOLOR ON PAPER </p><p>KANGRA SCHOOL </p><p>CIRCA 1850 </p><p>13 cm x 20 cm / 5.125” x 8.0” </p><p><strong>EXHIBITED: </strong></p><p>Lycoming College Gallery; Williamsport, Pennsylvania 1981 </p><p><strong>DESCRIPTION: </strong>Raha and Krishna are seated near a stream while nearby an attendant gathers water from the stream. The well-detailed, late afternoon pastoral is the setting of what is happening between the two protagonists. Krishna is entreating his consort to make love. </p></div><script> <!--<br/> function popupwin(filename,windowname,properties) { mywin = window.open(filename,windowname,properties); } <br/>// --><br/> </script>
  • <div class="footer"><p><strong>PRINCESS ON AN ELEPHANT-ZOOMOROHIC PAINTING (# 2544/1) </strong></p><p>OPAQUE WATERCOLOR ON PAPER </p><p>PERSIAN SCHOOL </p><p>LATE 19<sup>TH</sup> –EARLY 20<sup>TH</sup> CENTURY</p><p>16.5 cm x 28.5 cm / 6.5” X 11.25” </p><p><strong>DESCRIPTION: </strong>A manuscript painting of a princess riding in a howdah on a composite elephant in a rather bleak landscape being attended by raja on horseback. The elephant is composed of numerous animals and one integrated person. The elephant is richly caparison and carries anklets on the front legs and neck band. The intended meaning of composite pictures in Indian and Persian art remains obscure. Some of the antecedents of the practice may be back to China in the pre-classical period, whereas this picture may be generally interpreted as an expression of the philosophical concept of all creatures and things being made of smaller elements. In the Islamic context they seem to have a more specifically Sufi attraction based on the Sufi idea of multiplicity and unity. In this example, the religious building in the background adds an extra and tantalizing element. </p></div><script> <!--<br/> function popupwin(filename,windowname,properties) { mywin = window.open(filename,windowname,properties); } <br/>// --><br/> </script>
  • <p><strong>MAHARAJA OF JAIPUR AND BAHUCHARJI</strong></p><p> OPAGUE WATERCOLOR/GILT ON PAPER</p><p> JAIPUR SCHOOL </p><p>12"x15" </p><p><strong>DESCRIPTION:</strong> The maharaja of Jaipur seeking the blessings of the goddess Bahucharji(Chubal):The Goddess Bahucharje (a form of the great goddess Devi) who is attended by the gods Shiva and Mahader. The maharaja, perhaps Jagat Singh, is seen in a palace forecourt greeting the goddess who rests sidesaddle on a cockerel vahana, her vehicle. Behind her are Shiva and Mahader are seen as blue and white twins in a type of tandem dance. The goddess, though according to Blurton* is popular in Gujarat, Western India: lacks a reference in either Majupuria's or Gupte's books**. The three eyed goddess holds in her four hands; a mace, trident, sword and a lotus. She is richly dressed and bejeweled and on her head is a crown which is surrounded by a golden nimbus. The blue and white figures are also richly adorn and in thier four hands hold the following; Shiva peacock feathers, sword, drum whisk, and lotus. Their nimbus each contain a coiling snake. The floor of the forecourt is a rich pattern, behind the walls a rich profusion of flowers, in the forground a marble pool and fountain.</p>
     
  • <div class="footer"><p><strong>KHISHINA AS SHRINATHJI</strong></p><p> OPAQUE WATERCOLOR ON PAPER </p><p>RAJASTHANI SCHOOL </p><p>CIRCA 18th CENTURY </p><p>5"x6.5" </p><p><strong>EXHIBITED:</strong> Ithaca College Museum of Arts Ithaca, New York, 1971 Lycoming College Gallery, Williamsport Pennsylvania, 1981 </p><p><strong>DESCRIPTION:</strong> The stance, with upraised arms symbolizes Shrinathji lifting mount Govardhana to protect the residents of Vrindayan form Indra's destructive rains. The figure is shown holding lotus flowers and richly adorn with beaded necklace and peacock feather cap in a dark architectual background with motifs of various Hindu icons.<br /><br />Placed in Private Collection</p></div><script> <!--<br/> function popupwin(filename,windowname,properties) { mywin = window.open(filename,windowname,properties); } <br/>// --><br/> </script>
  • <p><strong>THE GODDESS DURGA ENTHRONED ON MOUNT KAILASA</strong> </p><p>GOUACHE ON BOARD </p><p>JAPIUR SCHOOL CIRCA 1840 </p><p>8.25"x11.75" </p><p><strong>EXHIBITED:</strong> </p><p>Lycoming College Gallery; Williamsport, Pennsylvania, 1981 </p><p><strong>DESCRIPTION:</strong> Durga enthroned on mount Kailasa is seated in an ornate golden sala with her vehicle, the lion, recumbent to her right. In the foreground numerous resplendent, minor deity worshippers are processing at right. Their brilliant aureoles at contrast with the bleak rocky landscape. A somber earth tone landscape is in the background; the dark blue sky accents the sparse foliage of the foreground.</p>
  • <p><strong>PRINCESS ON CAMEL-ZOOMOROHIC PAINTING<br /></strong><strong><br /></strong>OPAQUE WATERCOLOR ON PAPER<br /><br />PERSON SCHOOL<br /><br />LATE 18th CENTURY<br /><br />6.5"x11.25"<br /><br /><strong>DESCRIPTION:</strong> A manuscript painting of a princess riding in a howdah on a composite<br />camel in a rather bleak landscape being attended by raja on horseback. The<br />camel is composed of numerous animals and integrated persons. The camel is richly<br />caparison and carries anklets on the front legs and neck band. The intended meaning<br />of composite pictures in Idianian and Persian art remains obscure. Some of the <br />antecedents of the practice are cited by Welch where he traces the practice back to China<br />in the preclassical period. This picture may be generaly interpreted as an expression of the <br />philosophical conecpt of all creatures and things made of smaller elements, in the Islamic<br />context they seem to have a more specifically Sufi attraction based on the Sufi idea of<br />multiplicity and unity. In this example the religious building in the background adds an extra<br />and tantalizing element.</p>
  • <p><strong>JOURNEY OF THE OCEANS</strong> </p><p>OPAQUE WATERCOLOR AND GILT ON PAPER</p><p> TANJORE SCHOOL </p><p>CIRCA 18th CENTURY </p><p>6.5"X14" </p><p><strong>EXHIBITED:</strong> </p><p>Lycoming College Gallery; Williamsport, Pennsylvania, 1981 </p><p><strong>DECSRIPTION:</strong> The story of the journey of the ocean when the nectar was found in the ocean; causing a fight between the gods and the devils. Lord Vishnu in the shape of a beautiful woman started the distribution of the nectar beginning with the Devas(gods). One of the devils who could see what was happening forced Lord Vishnu to take out his wheel and cut off the heads of the devil.</p>
     
  • <p><strong>VISHNU AND SARASVATI<br /></strong><br />OPAQUE WATERCOLOR ON PAPER<br /><br />KANGRA SCHOOL 1880 <br /><br />CIRCA 1850<br /><br />5.12"x9.12"<br /><br /><strong>EXHIBITED:<br /></strong><br />Lycoming College Gallery, Williamsport, Pennsylvania, 1981<br /><br /><strong>DESCRIPTION:</strong> Vishnu and Sarasvati are shown together on a lotus pad floating over a pond sprinkled with scattered lotus blooms and pads. Sarasvati's white birds are in the fourground. Vishnu gazing adoringly at Sarasvati hold his four hands, the wheel, conch, mace and lotus. Vishnu is richly ornamented with garlands, bracelets, and earings. One his head he wears a golden crown. The colors are muted, and the reds-greys of the landscape serve to set the scene and places focus on the figure. In the background a bearably discernible hill over which pinkish clouds ride. Red borders with two yellow stripes. This type of isolated scene occurs occasionally in Kangra painting.</p>
  • <p><strong>GODDESS ON A THRONE (#2513/11)</strong><br />OPAQUE WATERCOLOR ON PAPER<br />MYSORE SCHOOL(KARNATAKA)<br />CIRCA EARLY 19TH CENTURY<br />OVID 5.25"X6.75"<br /><br /><strong>EXHIBITED: </strong>A Goddess (Inidentified) on her throne: The dominance of red and green, the bold fluid contours emphasized by washes of color are typical of the paintings in Mysore during the early nineteenth century. The oval face and quiet coutenance are typical of Mysore paintings. The Goddess sits on her vehicle, a human male who lies supine on the throne. Beneath the swinging golden bejewled mukuta (crown). She is covered with henna, with only the upper portions of her forehead not covered.</p>