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RAGINI LALIT OF RAGA BHAIRAV
BIKANER, CIRCA 1670
Inscribed in Nagari ‘6 lalit bhairav raga ri ragini
kaam ruk di ro...’ on the reverse
Gouache on paper heightened with gold
Image: 6.25 x 4.25 in (16.1 x 11.1 cm)
Folio: 7 x 5.25 in (18.4 x 13.6 cm)
Rs 40,00,000 ‒ 50,00,000
$ 59,705 - 74,630
NON‒EXPORTABLE REGISTERED ANTIQUITY
PROVENANCE
The Motichand Khajanchi Collection
PUBLISHED
Naval Krishna, ‘’Bikaneri Miniature Painting Workshops of
Ruknuddin, Ibrahim and Nathu,’’
Lalit Kala 21
, New Delhi: Lalit
Kala Akademi, 1985, pl. XII, fig. 5 (illustrated)
Detail of inscription on reverse
The representation of love in
its many forms was a significant
theme in miniatures. Several poetic
texts were referenced by artists for
the portrayal of romance, which
also tied to music traditions. The
representation of
Ragini Lalit
of
Bhairav Raga
in the present lot,
shows a
nayika
lying down, perhaps
awaiting appeasement from her
beloved
nayak
, the standing figure
with two garlands. Both Mughal and
Deccani elements are seen in the
respective colouring and features of
the main figures and the attendant, as
well as the clothing. The blending of
styles is also seen in the architecture,
awning, brickwork, floral motifs and
decoration.
The present lot, which was published
in
Lalit Kala 21
, bears the inscription
of master artist Ruknuddin, who was
active in the Bikaner court under the
patronage of Maharaja Anoop Singh
from about 1650‒1697. Ruknuddin
travelled with the ruler during his
campaigns as far as the Deccan and
as a result, his style incorporates
both Mughal and Deccani elements
which characterise the Bikaner
school. Several works over a long
span of time have been inscribed
and annotated to Ruknuddin and
may include those of his son or other
senior artists from his atelier. Works
from the atelier of Ruknuddin are in
important collections around the
world.