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Maharana Sangram Singh of Udaipur was an astute ruler
and a keen patron of the arts. Interactions with foreign
visitors led to an interest in experimentation among
the artists of his court that led to paintings that went
beyond the traditional religious subjects or illustrations
to manuscripts. The Mewar school, through the 18
th
and into the 19
th
century, was characterised by portraits
of rulers and depictions of their life at both, leisure and
war. Writing of Sangram Singh, Parimoo states, “Topsfield
has built up his [Sangram Singh’s] personality and love of
pomp and show through the kind of subjects he liked to
be painted in which he was the principal character.” (Ratan
Parimoo,
NC Mehta Collection Volume II, Rajasthani, Central
Indian, Pahari and Mughal Paintings
, Ahmedabad: Gujarat
Museum Society, 2013, p. 32)
The present lot is a poetic rendering of the Maharana
with his queen and her ladies, interacting with deer and
blackbucks.
Raga Todi
is invoked, as the animals respond
to the music played by the two female musicians with
their
veena
and
sarangi
, which form the iconography for
this
ragamala
. The Maharana carries his bow as a symbol
of his status, but does not point an arrow, as it is not a
hunt. The scenery with a lotus pond in the foreground
and an undulating verdant landscape adds to the sense
of tranquillity and peace with nature. Traditionally styled
homes are far off in the distance, away from the animals,
music, water, flowers and landscape that are fitting for a
colourful royal outing.
21
MAHARANA SANGRAM SINGH
WITH LADIES AND DEER AT A LAKE
MEWAR, CIRCA 1725
Gouache on paper heightened with gold
Image: 12.25 x 7.5 in (31.4 x 19.3 cm)
Folio: 14.25 x 9.5 in (36.6 x 24.7 cm)
Rs 25,00,000 ‒ 30,00,000
$ 37,315 - 44,780
NON‒EXPORTABLE REGISTERED ANTIQUITY
PROVENANCE
The Motichand Khajanchi Collection