ART PASSAGES
Epic, Kingship Ritual and Celebration Indian and Persian Paintings
Art PASSAGES
Epic, Kingship, Ritual and Celebration In Indian and Persian Paintings
Catalogued by: Robert J. Del Bontà Shawn Ghassemi
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1 Jamshid is Wounded by Zahhak Folio from a manuscript of Shahnameh (Book of Kings) of Ferdowsi. Safavid, Shiraz, Iran, circa 1570-1580. Ink, opaque watercolor, silver, and gold on paper Folio 17 ¼ x 10 7/8 in (43.8 x 27.6 cm) Painting 14 7/8 x 8 7/8 in (37.8 x 22.5 cm) Provenance: Private French collection Jamshid was the fourth king of the ancient Persians. He is credited with creating civilization and establishing the Spring equinox marking the new year, as Nowruz. Ahuramazada, the supreme deity, chose him amongst men and bestowed him with Farr, the divine grace, or divine kingship. Consequently, he reigned for seven hundred years and created hygiene, medicine, arts and crafts, metallurgy, ship building, and music. In the scene depicted here, Jamshid and his army face off against Zahhak. Zahhak was an evil king, also known as the snake king, who was chosen by Ahriman, the supreme evil being and Ahuramazada’s antagonist. Jamshid rides out to confront Zahhak who manages to swing his sword and cut through Jamshid’s left arm. The scene is quite dramatic with body parts strewn across the field and warriors clad in armor and colorful attire fill the space. Chinese-style clouds fill the blue sky and a flock of large cranes with black claws flying across the sky, perhaps as a dark omen of the ill that will fall upon the land in the battle’s aftermath.
Injured, Jamshid went into hiding, however he was pursued and eventually was killed by Zahhak. This Painting comes from a large and luxurious manuscript of the Shahnameh produced in Shiraz towards the end of the 16th century.
For another folio from this Shahnameh see the David Collection, Copenhagen, no. 48/1973 titled ‘The Slaying of Siyawush’. Dramatic cranes across the sky are seen in both of these paintings.
2 Bahram-e Gur kills the Dragon Folio from a manuscript of Haft-Paykar (Seven Portraits) of the Khamseh or Panj Ganj (Quintet or Five Treasures) of Nezami Ganjavi Safavid, Shiraz, Iran, circa 1560-1570. Ink, opaque watercolor, silver, and gold on paper Folio 13 3/4 x 9 in (35 x 22.8 cm) Painting 8 3/8 x 6 3/8 in (21.3 x 16.2 cm) Provenance: Private New York Collection After consuming much wine, Bahram-e Gur went out hunting Gur (an onager or wild ass). After much searching, he spotted the she-onager who was beautiful and exceptional in appearance. After a long chase through the desert, he was led by the onager to a rocky outcrop where he discovered a cave. To his amazement, he saw a sleeping dragon guarding the cave, belly swollen from its meal of the onager.
With an extra dose of bravado, he gets off his horse and draws his bow and blinds the dragon with a two-prong arrow. Without hesitation he engages the weakened dragon. He grabs the dragon by the head and rips its mouth open before decapitating it. Soon after, he enters the cave, discovers a treasure chest the likes of which he has never seen and orders his troops to retrieve the chest and carry it off with the use of three hundred camels.
3 Rostam Kills the White Div Folio from a manuscript of Shahnameh (Book of Kings) of Ferdowsi Qajar Period, Iran, circa 18th century Ink, opaque watercolor, gold, and silver on paper Folio 12 ½ x 8 ¾ in (31.7 x 22.2 cm) Painting 7 ¼ x 5 5/8 in (18.4 x 14.3 cm) Provenance: Sotheby's, Arts of the Islamic World, 16th October 2002, lot 30 Private UK Collection The legendary hero of the Shahnameh, Rostam has to triumph through seven ordeals or trials, Haftkhan-e-Rostam, in order to rescue king Kay Kavus who had been captured and blinded by the Divs, demonic creatures living in Mazandaran by the Caspian Sea. The dramatic scene here depicts his seventh and final ordeal where he encounters the White Div in a dark cave where he resides. The White Div is king of all the Divs and possesses enormous power. For Rostam to find his whereabouts, Rostam had to fight Ulad the ruler of the area and his army.
Having defeated Ulad, Rostam takes him as his hostage and guide. Ulad is shown here wearing a crown and tied to a tree while anxiously awaiting the outcome of the fight between Rostam and the white Div. Rostam is shown raising his dagger after he has plunged it into White Div’s chest. He then uses the Div’s blood to cure Kay Kavus’ blindness.
4 A Leviathan attacks Hamza and his Men scene from the Dastan-i Amir Hamza (Hamzanama) India, Rajasthan, Bikaner circa 1680 Ink, opaque watercolor, and gold on paper Folio 9 3/4 x 6 3/8 in (24.9 x 16 cm) Painting 9 x 5 1/2 in (22.9 x 13.9 cm) Provenance: Tom Maschler, London The Hamzanama or Dastan-i Amir Hamza narrates the fantastic adventures of Amir Hamza, an uncle of prophet Muhammad as he traveled the world spreading Islam and fighting injustice. These stories were quite popular and were recited over the centuries. They began to appear as illustrations in the late 16th century. In this painting Hamza and his men are sailing to the island of Shatar ruled by Ahras. However, along the way they are attacked by a sea monster who appears to swallow the ship whole. Sitting at top of the ship, Amir Hamza shoots an arrow at the eye of the creature while one of his men spears the monster’s snout and
another bravely attacks with a sword at his gaping mouth. Hamza’s other men dive into the water to save themselves. The fate of Hamza and his small group of men is quite unclear. All the men are depicted with emphatic gestures. The monster here is based on the Indian ghariyal, a species of crocodile native to the sub-continent. The brightly colored figures are contrasted with the ominous dark swirling water and a thick fog descends obscuring the horizon adding to the gloomy scene.
For a discussion of the story see: John Seyller, The Adventures of Hamza, Washington, D.C: Smithsonian: Freer Galley of Art Arthur M. Sackler Gallery, 2002, no. 27, pp. 98-99.
5 Devi Fights an Army of Asuras Scene from the Devimahatmya Mughal, Delhi, circa 1780 Ink, opaque watercolor, and gold on paper Painting 12 3/8 x 8 3/8 in (31.4 x 21.2 cm) Provenance: Alperton Collection, San Francisco, CA prior to 1976 Besides the ultimate battles with Shumbha and Nishumbha, other episodes of the Devimahatmya include Devi fighting a great variety of asuras (demons): from the familiar buffalo demon Mahishasura to less familiar demons Raktabija and Dhumralochana and armies of up to sixty thousand asuras. It is difficult to pinpoint the particular battle depicted here. The eight-armed Goddess stands alone facing the hordes of menacing demons to the left. Many are depicted as quite human looking, sporting horns and antlers of various types, and others are depicted in the usual manner with animal heads.
A few ride horses and one even is mounted on an elephant. One demon seen at the back appears to be playing kettle drums to inspire the army. The Goddess’s vahana, the lion, attacks a demon who may have emerged from the severed body below, a common trope in the text. Most of the battles in the text involve Devi in her many forms fighting as a group. By depicting the Goddess alone, the artist underscores her significant power against the forces of evil. She faces about two dozen asuras as shown here.
6 Mahishasuramardini by Gajadhar (the head artist) Ibrahim, son of Isa India, Rajasthan, Bikaner, probably V.S 1810 / 1753 CE Ink, opaque watercolor, and gold on paper Folio 8 7/8 x 6 in (22.5 x 15.2 cm) Painting 7 ¾ x 5 in (19.7 x 12.7 cm) Inscribed on the back: Nījara dasarāvai rī kāma gajadhara vīrāma isai ro samvat 181[0] mitī Āsoja sudi 10 Provenance: Private UK Collection The eight-armed figure of the goddess Durga has severed the buffalo head of Mahishasura releasing the actual demon who emerges from the neck of the buffalo holding a club and shield. Durga attacks him with a variety of weapons. Her vahana, the lion mount with its fan-like mane, has gotten into the act and takes a bite out of the body of the buffalo. Clearly the asura holding only a club is no match to this goddess. She holds a variety of attributes: a kapala (skull-cup, ready to collect the blood of the demon), a katar (punch-dagger), a khadga (sword), lance, cakra (discus), a sarpa (snake), and a padma (lotus). Mahishasuramardini is associated with the festival of Dussehra, which celebrates triumph of good over evil. The other common godly association for the festival is that of Rama killing the evil Ravana.
An inscription on the reverse identifies the painter as Usta Gajadhar Virama (Ibrahim) and gives the information that the painting was given as a nazar to a ruler on the 10th day of the festival of Dussehra. Details of the painting suggest that this artist came from the line of the famous artists of Bikaner, Ruknudddin and his son, the first Ibrahim in the line. Names in the family repeat quite often over the generations.
For a discussion of Ruknuddin, his family, and followers see: Naval Krishna, “Bikaneri Miniature Painting Workshop of Ruknuddin, Ibrahim and Nathu,” Lalit Kala 21 (1990), 23-37. For comparisons see: San Diego Museum of Art one by Savaddin, son of Mohammad, dtd. 1844 (1990.807); and Shawn Ghassemi and Robert J. Del Bontà, Art Passages: Painted Jewels, 2018, no. 37.
7 Devi in Various Forms Attacks Nishumbha and His Army From a Devimahatmya series Himachal Pradesh, Punjab Hills, Guler, circa 1800 Ink, opaque watercolor, and gold on paper Painting 5 3/4 x 8 5/8 in (14.6 x 21.5 cm) Provenance: Mandi Royal Collection Private German Collection The Devimahtmya, a text glorifying Devi (the Goddess), is part of the ancient Markandeya Purana, but is often treated as a separate work and many illustrated manuscripts of it are known. Since the gods were unable to deal with several demons who were given boons making them invincible to the male deities, the gods combined their female aspects to create Devi, the Goddess. She then took many forms and fought evil either singly or in a group. There are a few different narratives in the text and the longest involves the Goddess dealing with the asura (demon) brothers Shumbha and Nishumbha. Shumbha desired the Goddess, and she rejected his advances. He decided to take her by force and gathered a series of asuras to fight her. As described in Chapter 9, after repeated defeats,
Nishumbha surrounded by his army of asuras was sent to fight her. Taking three forms, two associated with Shiva, the black Kali and the bare chested three-eyed creature, the eight-armed figure Chandika (Ambika) attacked the demon forces. The asuras were no match for the goddess and they were all destroyed.
Some of the original drawings, attributed to the Nainsukh family, from which this series was composed are in the Mittal Collection. See John Seyller and Jagdish Mittal, Pahari Drawings, Hyderabad, 2013, nos. 23-28). For another example, see Christie's, New York, 21 March 2018, lot 346.
8 Devi Fights Shumbha From a Devimahatmya series Himachal Pradesh, Punjab Hills, Guler, circa 1790 Ink and opaque watercolor on paper Painting 5 5/8 x 8 1/8 in (14.2 x 20.9 cm) Provenance: Private East Coast Collection In chapter 10, the final duel of the Devimahatmya, the single Goddess fights the asura (demon) Shumbha after various other demons have already succumbed to her power. We see Shumbha twice, he assails Chandika from the right, and she has shattered his shield and broken his sword. In the foreground, the second image of Shumbha falls dead with his eyes closed.
The artist uses the simplest means to create the scene: a rolling hill defines the space behind the figure of Chandika and another does the same behind Shumbha. The artist added only a bit of foliage at the bottom left. The bounding lion creates the impression of tremendous movement as he lurches towards the demon. The absence of weapons in the eight arms of the Goddess makes the whole conquest of the asura appear almost magical.
9 Shah Abbas Receives Vali Muhammad Khan Attributed to Mu’in Mosavvir Safavid, Isfahan, Iran, circa late 17th century Ink, opaque watercolor, and gold on paper Painting 4 1/8 x 6 7/8 in (10.5 x 17.5 cm) Provenance: Private UK Collection Shah Abbas (Shah Abbas I, reigned 1588 – 1629) appears to gesture to his guest, Muhammad Vali Khan, an Uzbek khan, who assumes a posture of leaning forward exhibiting subservience and attentiveness. His face displays charm and shrewdness, perhaps to underscore the purpose of his visit.
This scene relates to a mural painting in the Chehel Sotoun Palace in Isfahan, which shows a reception for the khan who came to seek support from the Shah in his struggle for leadership of the Khanate of Bokhara. Paintings of Shah Abbas in various settings were quite popular in the second half of the Safavid dynasty.
10 Shah Isma’il Receives Sultan Hussein Barani Folio from Tarikh-i alam-aray-i Shah Isma’il (World-adorning History of Shah Isma'il) of Bijan Attributed to court artist Mu’in Musavvir Safavid, Isfahan, Iran, circa 1680-1685. Ink, opaque watercolor, silver, and gold on paper Folio 14 x 9 ¼ in (35.5 x 23.5 cm) Painting 4 7/8 x 6 in (12.4 x 15.3 cm) Provenance: Private East Coast Collection This folio comes from a manuscript, alternatively titled Tarikh-i Jahangusha-yi Khaqan Sahibqiran, dedicated to the history of Shah Isma’il (d. 1524), the first ruler of the Safavid dynasty (15011722). In the scene here, sultan Hussein Barani, a Turkic ruler from Zanjan appears before Shah Isma’il presenting him with a letter asking for his protection. The young Shah Isma’il sits confidently on a goldbordered rug against a lavender backdrop just inside a tent. His courtiers stand behind him as he receives the petitioner and his envoy.
The style of painting characterized by assured line, rounded forms and Persianized features created by Reza Abbasi was further propagated by his pupil Mu’in Musavvir as evidenced in this painting.
Other detached folios from this manuscript are in the Harvard Art Museums (2005.201); the Smithsonian National Museum of Asian Art (F2000.3); and the David Collection (28/1986, 84/1980 & 27/1986).
11 Shirin Welcomes Khosrow to her Palace Folio from a manuscript of Khosrow-o-Shirin of the Khamseh or Panj Ganj (Quintet or Five Treasures) of Nezami Ganjavi Safavid, Shiraz, Iran, circa 1560. Ink, opaque watercolor, silver, and gold on paper Folio 15 1/4 x 10 in (38.7 x 25.4 cm) Painting 10 1/8 x 7 1/8 in (25.7 x 18 cm) Provenance: Private UK Collection Khosrow-o-shirin is a tale of tragic lovers, first narrated by Ferdowsi and later embellished by Nezami. Khosrow (Khosrow Parviz) was a Sasanian prince and later a king who fell madly in love with Shirin, an Armenian princess and daughter of a queen, by simply hearing a description of her beauty. Shirin, in turn, fell in love with Khosrow as soon as she saw his portrait presented by Khosrow’s friend Shapour. After a long period of misfortune and missed chances, they finally met at Shirin’s castle, however Khosrow had just lost his throne to the usurper Bahram-e Chobin.
Shirin rejected him and sent him away to regain his throne as a condition of their reunion. In the scene here, Khosrow having defeated the usurper Bahram-e Chobin and having regained his throne is welcomed by Shirin as a victor. Shirin and her maidens are excited by the king’s arrival while her courtiers rush out to greet Khosrow and his retinue with trays of food and nourishments. The lovers are at last united.
12 Eskandar Mourns the Dying Dara Folio from a manuscript of Eskandarnameh of the Khamseh or Panj Ganj (Quintet or Five Treasures) of Nezami Ganjavi Safavid, Shiraz, Iran, circa 1560-1570. Ink, opaque watercolor, silver, and gold on paper Folio 13 x 9 in (33 x 22.8 cm) Painting 8 3/8 x 6 3/8 in (21.3 x 16.2 cm) Provenance: Private New York Collection Alexander the great was incorporated into the Persian mythology and literature as an exemplary archetypal wise and just king. Eskandarnameh (story of Alexander) of Nezami deals with moral stories of Alexander. In the scene depicted here Alexander comforts the dying Dara (Darius III, last Achaemenid King of the Persians) who lies in his lap as Alexander weeps.
Darius was on the run from Alexander’s army for several years following the sack of Persepolis, the capital city of the Persians, and was eventually murdered by his servants. They appear to the left in this image with hands bound behind their backs and shaven heads. Numerous figures fill the landscape adding a formality to the situation suggesting a funeral procession. Alexander’s high regard for his fallen foe is evident here as he agrees to grant Dara’s dying wish to marry his daughter Roshanak (Roxana).
13 Alexander Discovers the Seventy Physicians Who Died Rejecting Hermes Folio from a manuscript of the Eskandarnameh of the Khamseh or Panj Ganj (Quintet or Five Treasures) of Nezami Ganjavi Safavid, Shiraz, Iran, circa 1560-1570. Ink, opaque watercolor, silver, and gold on paper Folio 13 3/4 x 9 1/4 in (35 x 23.5 cm) Painting 8 7/8 x 6 1/2 in (22.5 x 16.5 cm) Provenance: Private New York Collection This folio is from the second chapter in the Eskandarnameh, called Kheradnameh-e Eskandari (Alexander’s book of wisdom). In this rather strange scene, the philosopher Hermes has been discussing and arguing his principles of wisdom with seventy philosophers from all over the realm. His attempts to convince the philosophers of his truths fail three times. After enduring their rejection and suffering their ridicule, Hermes casts a spell, which paralyzes and kills the men all at once. The artist depicts the men falling all over each other as they die. Strangely enough, Alexander arrives at the scene and approves of Hermes’s act.
The multitude of colorful figures, the wide range of tile shapes and floral carpets used as background creates a delightful jewel-like scene.
14 Worship of a Linga Shrine India, Rajasthan, Bikaner, circa 1720-30 Ink, opaque watercolor, and gold on paper Folio 14 1/8 x 9 in (35.9 x 22.9 cm) Painting 11 ¾ x 7 1/8 in (29.8 x 18.2 cm) Provenance: Published Waddington Galleries, Indian Painting, exhibition catalogue, London, 5-22 December 1978, no. 14 R.E. Lewis Inc, San Rafael, California This beautiful painting can be interpreted in several ways. It is reminiscent of Bhairavi ragini, a musical mode and part of a series of paintings, usually thirty-six called a Ragamala, a garland of ragas. It consistently depicts a woman worshipping at a linga shrine. Here the linga, a phallic representation of the god Shiva, is seen in the arched opening of the shrine with its white marble spire at the top of the mountain form. A bell hangs above it, and it is wrapped in flowers. Shiva’s vahana (mount), the bull Nandi, is seen behind the shrine. On another level, the mountain setting suggests Shiva’s abode on Mount Kailasa in the Himalayas. The figures climb up the mountain to worship him. The group of figures are elaborately dressed and bring rich offerings, the ladies below the main figure carry jewel encrusted gold offerings on a golden tray while the kneeling figure offers a coconut, a common offering to be cracked over the linga in the act of lustration.
Still another important illusion is added to the painting. From the bull’s head below the linga itself a stream of water emerges filling a lotus strewn pond at the bottom of the painting. This references the Descent of the Ganges. A legend has it that a powerful sage had drained the world of water, and it took Shiva to allow the waters of the Ganges in the heavens flow through his tresses down to the earth so that the sheer weight of the water would not fracture the earth. The whole is very carefully painted and appears to combine several styles, there are many Deccani elements from south of Rajasthan that include similar golden skies and the stylized trees, especially the tall pin-wheel palms.
15 Sawan Masa from a Barahmasa series India, Rajasthan, Kota, circa 1740-50 Ink, opaque watercolor, and gold on paper Folio 12 ½ x 8 ½ in (31.6 x 21.4 cm) Painting 9 5/8 x 6 in (24.5 x 15.1 cm) Provenance: Françoise and Claude Bourelier, Paris This painting of Sawan masa (July-August) is one of a group of the twelve months, the Barahmasa (barah = 12 and masa = month) and coincides with the coming of the rains. It is a joyful time when the weather cools and people run out into nature. It is also the time for the festival of Teej celebrated by women with singing and dancing and even swinging. It is dedicated to Parvati, the wife of Shiva, and in the painting one of the women in the foreground carries a small statue of the Goddess on her head. The statue holds chharis (sticks covered with blossoms) associated with the god of love, Kama. A fair number of similar paintings from these series are scattered in museums and private collections. The general composition is consistent and was especially popular in the Bundi-Kota-Uniara region with small variations. A couple sit in a storied pavilion to the left with women below. The swing is often included and placed against a lush forest.
The Victoria and Albert painting, cited below, has two ladies facing each other on the swing and many of the ladies there also hold chharis. In that painting a Raja and his consort sit in the pavilion. In our painting it is Krishna and Radha who gesture to the women. Krishna and Radha are also seen embracing in the forest above the girl on the swing. A drawing in the Los Angeles County Museum of Art also has a Raja and consort in the pavilion and two girls on the swing and a pair of lovers in a bower above. A painting in Lotosmund und Löwenritt has Radha and Krishna looking at each other in the pavilion and some of the women look up at the godly pair from below. In that painting which Bautze attributes to Uniara there is no swing. The finished paintings are all topped by a night sky peppered with lightning signifying the Monsoon.
For comparisons see: the Victoria and Albert Mueum IS.552-1952; Joachim Bautz, Lotosmond und Löwenritt, Stuttgart: Linden-Museum, 1991, no. 60, pp. 153 and 155; Los Angeles County Museum of Art M.77.154.1; and W.G. Archer, Indian Painting in Bundi and Kotah, London: Her Majesty’s Stationary Office, 1959, no. 10, fig. 20.
16 Men Bathing at a Hammam Folio from a manuscript of unknown literary source Safavid, Shiraz, Iran, circa 1570. Ink, opaque watercolor, silver, and gold on paper Folio 13 3/4 x 8 3/4 in (35 x 22.3 cm) Painting 7 1/8 x 6 3/4 in (18 x 17.2 cm) Provenance: Private UK Collection The scene shows a lively group of men and boys bathing. The text tells us this is no ordinary bathhouse, but a very special one. It apparently needs neither heating nor piped in water for it has an eternal thermal spring that supplies it with hot water. The whole scene is a sumptuous one divided into multiple subtly colored registers; each decorated with colorful tiles or painted with floral designs.
Three multi-colored glass domes cap the arched ceiling of the hammam. Golden and silvery washbowls are scattered on the bath floor. Even the brightly colored lungis (wraps) that the men are wearing are hemmed, some even studded with flowers. The scene is beaming with activity: a man in foreground is getting his head shaved; another man is getting exfoliated by an attendant using a leef (Urdu), or luffa. Three men in the upper register are absorbed in discussion while cooling off in a water tank. The scene truly reflects the atmosphere at a bathhouse intended for cleansing, relaxation, and socialization.
17 A Celebration Qajar Period, Iran, circa 1810-1820 Ink, opaque watercolor, gold, and silver on paper Folio 13 1/2 x 9 1/8 in (34.3 x 23.2 cm) Painting 6 3/8 x 6 3/4 in (16.2 x 17.2 cm) Provenance: Private French Collection The scene here is a jubilant party taking place indoors with musicians, dancers, and acrobats entertaining a pair of lovers seated at the center. Women are all depicted as idealized beauties with doe-eyes, arched eyebrows and small full lips. Each wears a short jacket and long skirt of different color, except for the lady of interest who wears a short jacket with wide trousers. Most of the entertainers play a musical instrument while the others dance and perform acrobatics. The lovers gaze into each other’s eyes however seem detached from the performers in the room. Two colorful carpets divide the space where action takes place.
As is typical of the Qajar genre painting, a western perspective for the interior is adopted. As one moves from the front to the back, the figures are positioned so that the space between them narrows implying recession of space. Carefully applied shadows and shading around figures and objects gives a sense of three dimensionality. The movement towards realism in painting which started in the second half of the Safavid period continues in this painting.
18 Bahram-e Gur and the Chinese Princess in the Sandalwood Pavilion Folio from a manuscript of Haft-Paykar of the Khamseh or Panj Ganj (Quintet or Five Treasures) of Nezami Ganjavi Safavid, Shiraz, Iran, circa 1580. Ink, opaque watercolor, silver, and gold on paper Folio 12 ¾ x 8 3/8 in (32.4 x 21.3 cm) Painting 10 1/8 x 7 1/8 in (25.7 x 18 cm) Provenance: Private New York Collection Sotheby’s Indian, Himalayan and SE Asian Art. New York. Sale 6228, 10/28/91, lot 204 While staying at the fabled palace Kwarnaq of his caretaker, the Arab king Nu’maan, Bahram, a Sasanian prince, discovered a locked room. Out of curiosity he managed to open the room and to his astonishment he saw that the interior was decorated with images of seven beautiful princesses hailing from seven different climes. This discovery left such an impression that once Bahram became a king; he set out to find the seven princesses. Having succeeded in his quest, he brought the seven princesses to his capital and ordered his architect to construct a domed-pavilion for each princess to reside in. On the suggestion of his architect, each building was colored based on the princess’s clime and color of her planetary sign corresponding to the day of the week. Bahram then began to spend each successive night of the week with a different princess at her pavilion, wearing clothing that matched the color of her clime and planet. Each princess would entertain the king and tell him a moral story of love and wisdom.
In the image here, Baharm-e Gur is entertained by the Chinese princess Yaghmanaz as the day is Panjshanbe, or Thursday, day of Jupiter, the planetary sign of the princess. The pavilion is colored in Sandalwood, a brownish red color, so Baharm-e Gur is dressed in a garment of gold and sandalwood to match that of the princess and her mood. The scene is one of celebration with dancers and musicians entertaining the couple with numerous decanters of wine and food around. A couple of young children running around on the rooftop chased by their caretaker adds humor to the scene.
Another related folio depicting this scene and dated 1584 is in the Harvard Art Museums (2002.50.147).
19 Court Ladies Relaxing by a Pool Mughal, India, circa 1750 Ink, opaque watercolor, and gold on paper Folio 12 3/8 x 8 5/8 in. (31.5 x 22 cm) Painting 10 ½ x 6 7/8 in. (26.7 x 17.5 cm) Inscribed in nasta’liq at the top: Card of festivities of the bejeweled Lady Provenance: Private Old California Collection A princess sits upon a golden throne-like chair holding up a pink lotus bud while a court lady kneeling on the marble terrace on the other side of a channel plays a rudra vina. Five ladies converse in front of an octagonal pond as observed from above. It is set in the middle of a garden that is divided into sections. The parterre is decorated in an overall pattern of flowers, creating an almost carpet like effect. The painting’s rich
surface is detailed primarily in gold and green colors; even the gourds of the vina are painted in green with gold highlights. An elaborate meandering gold floral border on green encloses the whole. The faces are all handled with great delicacy and one can get a sense of real women, their glances reveal real intercourse. Perhaps they are gossiping about the princess.
20 Vilaval ragaputra, Son of Bhairava from a Ragamala series Himachal Pradesh, Bilaspur or Chamba, Pahari, India, 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. Provenance: Mandi Royal Collection, inventory no. 2214 Private German Collection 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 putras (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 leaning over 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 Other paintings from this set are in the various collections including: W.G. Archer, Indian Paintings from the Punjab Hills, London: Sotheby Parke Bernet,1973, vol.1 p. 231, no. 8 (i-iii), & vol. II, p.172. Alice N. Heeramaneck, Masterpieces of Indian Painting formerly in the Nasli M. Heeramaneck Collections, Verona: A. Mondadore Editore,1984, nos.105-108.
21 A Nobleman in a Garden Terrace India, Rajasthan, Alwar, circa 1860s Ink, opaque watercolor, and gold on paper Painting 10 x 7 in (25.5 x 18 cm) Provenance: Private UK Collection The nobleman sits on a European style chair in strict profile, a classical pose, with an akshamala (rosary) in his right hand and his left uplifted holding a flower. He wears a long white jama which is typical of the few portraits known from Alwar. Many portraits from Alwar have men dressed in white jamas and an impressive example of a Darbar of Raja Bakhtawar Singh of Alwar in the San Diego Museum of Art (1990.918) has over 120 men all are dressed in white. The nobleman wears a good deal of jewelry, but it is not as ostentatious as one sees in many Rajput portraits. He wears a simple pagri (turban) adorned with jewels and a few flowers. He sports long hair comparable to a portrait of the contemporary equestrian portrait of Maharao Sheodan Singh of Alwar in the Louvre Abu Dhabi (acq. no. LAD 2011.080). Both men have horizontal lines across his forehead signifying their Shaiva affiliation.
The entire surface is exquisitely painted. In the foreground the terrace is covered with an intricate floral carpet in pastel colors. To the right sits a blue-and-white planter masterfully painted with a depiction of a man on horseback spearing an animal next to a cityscape. Beyond the pierced railing there is a wide variety of colorful flowering plants. There is liberal use of gold in the delicate decoration on the chair, the man’s turban, and streaking across the sky. The whole is framed with several tasteful borders harmonizing with the painting itself.
For the Darbar scene see: B. N. Goswamy and Caron Smith. Domains of Wonder, San Diego, California: San Diego Museum of Art, 2005, 276-77, fig. 116.
22 Portrait of a Qajar Official Attributed to Abu'l-Hasan Khan Ghaffari Kashani known as Sani’ ol Molk Qajar Period, Iran, circa 1860s Ink and watercolors on paper Painting 7 5/8 x 4 ¾ in (19.4 x 12 cm) Provenance: Private Old Canadian Collection Abu'l-Hasan Khan Ghaffari Kashani (1814–1866), also known as Sani’ ol Molk is generally considered the supreme Iranian portrait artist of the 19th century. He was a pupil of Mehr ‘Ali, the court artist to Fath ’Ali Shah and became the official court painter to both Muhammad Shah (r. 18341848) and his successor Naser ud-Din Shah (r. 1848-1896). He studied the renaissance masters in Italy where he copied masterworks of the period by Michelangelo, Titian, and others. Upon his return to Iran, he engaged primarily in a western style of realistic portraiture. Through keen observation of his subjects, he was able to masterfully render in his paintings their physical and psychological characters. There are several handwritten notations in cursive English on the back of this portrait: 1873 g in red pencil. Hadji Mouslachi(sp?), Holy Man, Mayor of Urmi, Justice, 1899 Looks after folken(sp?) of Urmi From the inscription above, we can surmise that this portrait was probably acquired in 1873 by a Westerner, and furthermore, the sitter was a mayor of town Urmia, in northwest Iran, perhaps even a judge there. The last date of 1899 could be when it was reassessed by the one who acquired the portrait and wrote the inscription.
Regardless of the accuracy of the inscription above, this portrait reveals the hand of a master at work. The subject faces the artist directly on, slightly leaning forward; the pose often preferred by Sani’ ol Molk. He wears a black astrakhan hat typical of the Qajari officials. His outer robe is a simple wool aba trimmed in yellow silk or gold with calligraphy, which is normally worn by a religious scholar but was also worn by Judges. His inner garment is simple as well with a thick layered fabric in grey. He is clearly a religious scholar or judge who might have served as a mayor as well. His gaze is intense, and he appears stoic, yet his eyes reveal a certain kindness. The physical and psychological impact of this picture is palpable.
For other related paintings by Abu'l-Hasan Khan Ghaffari Kashani, see a portrait of Aqa Muhammad Hasan Sardar, circa 1855/56, Louvre (MAO 789), and a portrait of Mirza Zayn al-‘Abidin circa 1857/58, Harvard Art Museums (2015.32).
23 A Qajar Beauty Holding a Rose Qajar Period, Iran, circa 1820-1830 Oil paint on copper Painting 35.5 x 26 cm Provenance: Estate of a Private UK Collection from the 1980s-1990s During the early Qajar period, paintings of female beauties, often intoxicated, as well as those of musicians, dancers, and acrobats decorated palaces and noble houses. They hung on walls or set into architectural niches in interior settings.
She wears a bejeweled small cap on her head and a large pearl string frames her face. Her clothing is rich and sumptuous studded with jewels and pearls reflecting her luxurious court life.
This painting exudes sensuality and lyricism, typical of the court style painting during Fath ‘Ali Shah’s reign. An idealized harem beauty gazes invitingly at the viewer holding a rose, an allusion to an absent lover. Her face is round and her cheeks are blushed pink. Her brows are high arched and connected. Her doe-shaped eyes are kohl rimmed further accentuating her languorous gaze. Her nose is long and thin and her lips are small and slightly parted reminiscent of a rose bud. Her hair is thick with tight curls flirting with her face and her hands are dyed with henna.
For other examples of court beauties see, Layla S. Diba and Maryam Ekhtiar, Royal Persian Paintings: The Qajar Epoch 1785-1925, Brooklyn Museum of Art, 1998; Gwenaelle Fellinger and Carol Guillaume, L’Empire des roses: Chefs-d’oeuvre de l’art persan du XIX siècle, Musee du Louvre-Lens, Lens, 2018.
24 A Qajar Beauty Playing a Musical Instrument Qajar Period, Iran, circa 1820-1830 Oil paint on copper Painting 35.5 x 26 cm Provenance: Estate of a Private UK Collection from the 1980s-1990s During the early Qajar period, paintings of female beauties often intoxicated as well as those of musicians, dancers, and acrobats decorated palaces and noble houses. They hung on walls or set into architectural niches in interior settings.
Mehfils (a.k.a Mahfils), or gatherings were popular occasions at the court where poetry, music, dance, and other manners of entertainment exhilarated mind and body.
This painting depicts a court beauty playing a setar (3-string instrument). Her features are those of an idealized Persian beauty as described in the previous painting. However, she dons an embroidered conical hat much like the ones worn by dervishes and Sufis. Presumably she is accompanying a recital of poetry by Rumi, Hafiz, or another mystical poet.
For other examples of Sufism in Qajar art see Gwenaelle Fellinger and Carol Guillaume, L’Empire des roses: Chefsd’oeuvre de l’art persan du XIX siècle, Musee du LouvreLens, Lens, 2018, pp. 102-111.
25 The Elephant Bako Rajasthan, Udaipur, circa 1760s Ink, opaque watercolor, and gold on paper Folio 9 ½ x 10 in (24 x 25.5 cm) Painting 8 ¼ x 8 5/8 in (21 x 22 cm) Inscribed: hathi Bako // Maharana shri Sa[n]gram Singh ji ri vara ro There are inventory numbers on the back and name of elephant written upside down in red Provenance: Private California Collection prior to 2000 The elephant Baku was in the royal stable of the Maharana Sangram Singh II (r. 1710-34). Portraits of royal elephants and horses were very popular at Udaipur and many are known by name. These well-loved elephants continued to be painted for years often in series. Here the mahout sits firmly on the back of the lavishly caparisoned Bako and holds an ankusha (elephant goad), clearly unnecessary at the moment. The venerable Bako with long decorated tusks calmly walks forward
with a contented expression on his face, almost a twinkle in his eye. The simple setting with a few sprigs of vegetation at the bottom and the solid light blue background lets us focus on the rounded volumes of the animal.
26 The Elephant Camcala Rajasthan, Udaipur, circa 1760s Ink, opaque watercolor, and gold on paper Folio 12 ¹⁄₈ x 17 ³⁄₈ in (31 x 44 cm) Painting 10½ x 15¾ in (26.5 x 40 cm) Inscribed: Maharana shri Pratap Singh ji ri vara ro hathi Camcalagaja There are inventory numbers on the back and name of elephant written upside down Provenance: Private California Collection prior to 2000 Perhaps Camcala Gaja (gaja = elephant) is a bit threatening. He is not at a run, but the two keepers in front of him seem somewhat apprehensive, perhaps on the look-out for some sort of rampage. He appears to be properly named since Camcala can be translated as energetic. Camcala’s heavy chains on all four of his feet suggest that he may not have been very tame — he is still young with only a hint of a tusk showing. The keeper on his back is placed well
back, not nearly as in control as the one on Bako in the previous painting and his dress is quite informal. In this case, the inscription informs us that the elephant was in the royal stable of the Maharana Pratap Singh II (r. 1751-54).
For another running royal elephant belonging to Maharana Jagat Singh, see Barbara Schmitz, Islamic and Indian Manuscripts and Paintings in the Pierpont Morgan Library, 1997, M.1006, fig 280.
27 Unruly Elephants India, West Bengal, Murshidabad, circa 1760 Ink with light washes of color Folio 10 1/2 x 15 3/4 in (26.7 x 40 cm) Painting 8 x 12 3/8 in (20.3 x 31.5 cm) Provenance: Private California Collection prior to 1980s A pleasant elephant ride has gone awry. Clearly at least one elephant has decided he has had enough of the mahout on his back, the man is hanging perilously from his ankusha (elephant goad) hooked onto the elephant’s ear. Clearly the elephant doesn’t like it and has curled his trunk around the poor fellow’s ankle. The second elephant appears to be taking a lesson from the first and is getting frisky. His mahout lifts his ankusha ready to hook into the elephant’s forehead. Three retainers try to help, one with a lance, another with bow and arrow and a third with a stick with a tube tied on at right angles from which charges can blast to control the animal. Two miniscule riders are seen fleeing the scene at the right. The terrain is simply laid out with sparse foliage keeping the viewer firmly centered on the elephants and the action.
The whole is thinly painted but with precise details. It all bears affinities with another painting of two unruly elephants from Eastern India by the artist Mihr Chand and was part of a muraqqa‘ or album typical of the period and was sold at Bonhams in 2010 where the whole is very densely painted. Another album page from the Polier album was sold at Christie’s in 2008 where the elephant is handled similarly with light washes.
For comparisons see: Mihr Chand, “An Elephant Fight on a Hillside,” Bonhams, New York, April 2010, Lot 339; and “Fight of an Elephant with a Lion” from the Polier Album, Christie’s, New York, 15 September 2008, Lot 473.
28 Silk Brocade Panel of Irises Silk Safavid, Iran, circa 17th century Panel 175 x 71 cm Provenance: Private UK Collection This impressive panel of red silk ground is woven with staggered rows of stylized alternating blue and white hybrid plants of irises. Each plant rises out of scrolled rocks issuing a white narcissus flower to each side before blossoming into irises. This fabric derives its bold beauty from the sheer size of each iris plant amply spaced and repeated all over.
Another similar panel with a different hybrid flower against a red ground is in the Metropolitan Museum of Art 59.58. A fragment of another panel of a hybrid flower against a pink-red ground, see Reingard Neumann; Gerhard Murza, Persische Seiden: d. Gewebekunst d. Safawiden u. ihrer Nachfolger, E.A. Seemann Buch – u. Kunstverlag, Leipzig, 1988, page 211, No. 190 Inv. Nr. 1978,279
29 Silk and Metal Thread Brocade Panel of Birds on Rose Bushes Silk, silver, and gilt metal wrapped threads Safavid, Iran, circa late 17th century Panel 40 x 57 cm Provenance: Private UK Collection The gold ground is composed of alternating vertical bands of birds and flowers separated by narrow stripes of meandering leaves and flower heads. The band of birds is woven with a repeated pattern of a bird perched on a tree stump rising out of a rocky ground. A tulip flanks either side of the stump and a large rose bush rises above and provides a background for the bird. A butterfly hovers behind.
The stripe of flowers is woven against a silvery white background with a repeated pattern of two different stylized flowers, each flanked by a small cloud motif.
A closely related example is in the Textile Museum, GWU, Washington D.C. 3.151. Another related panel of silver ground with a repeated pattern of a bird perched on a rosebush, with a nearby butterfly is in the Metropolitan Museum of Art 49.32.99. A Safavid panel of a repeated pattern of a bird perched on rosebush against a silver ground was sold at Christie’s Art of the Islamic and Indian Worlds, Oct. 26, 2023, lot 70.
30 Silk Brocade Striped Panel of Fantastical Flowers Silk Safavid, Iran, circa late 17th century Panel 68 x 47 cm Painting 8 3/8 x 6 3/8 in (21.3 x 16.2 cm) Provenance: Private Japanese Collection Formed in the 60s-70s. A vibrant panel of alternating stripes of light blue, red, yellow, and blue silk separated by thin bands of orange color. The wider bands of blue and red are similarly woven with a repeated fantastical white flower of a large head and two buds. The narrow stripes of blue, and yellow are woven with a repeated pattern of a group of three flower sprigs. The array of color bands and flowers create a dazzling effect.
A closely related striped silk panel with similar flower forms is in the Philadelphia Museum of Art 1922-22-59.
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