12.05.24 - 01.31.25
Scenes of the Natural World From Across India and the Himalayas
KAPOOR GALLERIES presents Wild Horizons, a selection of ancient and classical Indian and Himalayan paintings and sculptures in which scenes of nature and wildlife are at the heart of each piece.
1
Composite Camel Marwar, India, circa 1820 - 1830
Opaque watercolors and gold on paper Image: 9 x 7 ¼ in.
(22.8 x 18.4 cm.)
Folio: 13 ¼ x 9 ¼ in.
(33.6 x 23.5 cm.)
Provenance: Private West Coast Collection acquired 1970’s.
The Indian subcontinent and the Himalayan regions are home to a diverse range of biomes and climates. From the arid deserts in the west and the fertile river valleys in the east, to the snow-capped mountains in the north and tropical jungles in the south, the varied landscapes have inspired a deep reverence for nature and wildlife among South Asian people throughout the ages. Each territory’s natural beauty has shaped not only the daily life, but also the spiritual and cultural fabric of its people. Communities celebrate and honor their surrounding landscapes and wildlife in local art and literature, often regarding the natural world as sacred, filled with symbols of protection, power, and divine presence. A highlight of Kapoor Galleries’ 2024-25 winter exhibition, Wild Horizons, is an opaque watercolor miniature painting titled, Composite Camel (1). Echoing the wild spirit of the collection of artworks presented in this exhibition, this painting depicts a camel formed of a myriad of animals and human forms, including an elephant, a monkey, birds and lions. The feet are formed by rabbits, a fish shapes the tail, and a snake winds around the face, serving as reins. Wild Horizons showcases the multifaceted ways nature has inspired artistic expression across the South Asian subcontinent over the millennia. South Asia and surrounding regions have had a long
relationship showing animals and deities working together and in many cases the lines between animal and deity are blurred. The earliest Hindu text, the Rig Veda, speaks of Sarama, the loyal dog of the gods and her service to Indra. These themes are repeated in later texts with Hanuman, the chief monkey king and his services to Rama and Sita in the Ramayana.
Animalistic features are also crucial iconographic components to many different deities in South Asia. For example, Vishnu appears in various incarnations— Narasimha the half-lion, Matsya the fish, and Kurma the turtle as seen in Samudra Manthan: Kurma Avatar (17). Ganesha is always seen with his iconic elephant head like in Dancing Ganesha (24) and Shiva is usually featured with Vasuki, the King of Snakes.
The vahana (or mount) is an identifying feature of many different deities, and are often uniquely paired with them. The rat with Ganesha, the swan with Brahma and Saraswati and the mythical chimera shown in Goddess Ganga Astride Makara (10) are just three examples of the unique pairing and long standing associations of animals with gods. Some vahanas such as Nandi of Shiva (see object 34) and Garuda of Vishnu (see painting 2) have well developed mythologies of their own, and serve as an agent in their own right. The vahana can also be symbolic of the deity’s traits and functions, such as Nandi being representative of the fertility and virility aspect of Shiva through the iconography of the dairy cow, and the hamsa (Sanskrit for Swan or Goose) of Sarasvati and Brahma show their associations with wisdom and grace.
Figure of Garuda Uttar Pradesh, Northern India, circa 5th century, Gupta Period Terracotta
7 1/4 in. (18.42 cm.)
A Double-Sided Album Page: The Taj Mahal and a Bird of Prey
Mughal, Delhi, India, circa 1800
Opaque pigments heightened with gold on paper
Image: 9 ¾ x 5 ⅜ in. (24.8 x 13.6 cm.)
Folio: 16 x 10 ½ in. (40.6 x 26.5 cm.)
Provenance: Duke’s Auctions, Dorset, England, 2014.
Botanical ornamentation and floral embellishments have long been used to enrich artwork to convey a sense of abundance, prosperity, and harmony with nature. Whether it is the meditative approach to filling the borders of miniatures with foliage patterns, or the organic relief carvings in sculptures, these intricate patterns elevate central figures, adding a depth of refinement and elegance in the work. The Album Page of the Taj Mahal (3) and the Portrait of a Mongolian Emperor (31) are fine examples of botanical detailing that frames the central figures to symbolize the sovereignty and authority of the respective subjects.
Specific plants and flowers are imbued with cultural and spiritual significance as well. For example the shape of the lotus as seen in the Matrika Lotus Mandala (32) symbolizes the enlightenment, divinity, and purity of the powerful group of goddesses carved on the inside of each petal with their respective vahanas. The banyan tree, with its expansive roots and wide-reaching branches, is a representation of stability and regeneration. It can be seen in the background of the painting, Shiva Under the Influence of Bhang (33), with its qualities clearly aligning with that of Shiva, a principal deity whose role is both the destroyer and transformer in the cosmic cycle of life.
Additionally, the rendering of landscapes in paintings serve as more than mere backdrops of scenes; they reflect the emotions of a composition through carefully chosen color and wildlife elements. For example, in the painting of The Boar (26), the rust-colored sky and dark, zigzagging river infuse the scene with an ominous atmosphere and a looming sense of danger. In contrast, the vibrant hues of orange, green, and blue in Homage of the Gods (5) evoke the sense of spiritual wonder and reverence, reflecting the heavens that the gods on the right gaze upon in respect.
Secular scenes depicting nature and wildlife portray aspects of daily life, royal pastimes, and human interactions with the natural world outside of the spiritual and divine mythos. Such scenes, often favored by royal patrons, capture episodes of drama, romance, or intense spectacle moments of sport. The painting, Hunters Shooting Boar (4), depicts a springtime ritual for royalty and the values of having the necessary skills for warfare and control over wildlife—a concept integral to a nobility’s self-image. Another painting like the one titled, Rao Bishan Singh Watching an Elephant Fight (19), illustrates an energetic scene of two elephants clashing with each other while the Raja watches from an observation tower at the top and handlers holding spears scatter below for their lives. Both artworks put wildlife and nature at the center of the scene, reminding viewers of the dynamic interplay between human ambition and the natural world.
Nature and wildlife have long been the central characters in artworks across millennia, reflecting humanity’s evolving relationship with the world around us. The skills humans gleaned from animals have fueled advancements, while spiritual connections to the animal kingdom underscore societal values of empathy, compassion, and companionship. Today, contemporary artisans continue to explore these themes, shedding light on the complex and ever-evolving coexistence between the species.
Encountering animals in their natural environments serves as a spiritual reminder of our heritage and the reverence once granted to these creatures in the divine realm. Together, these enduring beliefs and modern visualizations and experiences emphasize the need for care and stewardship toward these beings, reinforcing the importance of harmony with the natural world.
Hunters Shooting Boar (Maharao Ram Singh II of Kotah & Maharao Ram Singh of Bundi) India, Kotah, Mid-late 19th century Opaque watercolor heightened with gold on paper Folio: 11 ¾ x 16 in. (30 x 40.7 cm.)
Image: 10 ⅜ x 14 ¾ in. (26.5 x 37.5 cm.)
Provenance:
Sotheby’s, New York, 16 September 2010, lot 106.
Leaf 21 from the Devi Mahatmya: Homage of the Gods
Guler, India, circa 1800
Gouache and gold on paper
Folio: 7 ½ x 11 ½ in. (19.1 x 11.5 cm.)
Image: 6 ¼ x 10 in. (15.9 x 25.4 cm.)
Provenance:
Wild Horizons invites viewers to journey through the landscapes of South Asia’s past and present, where the natural world served as both muse and mirror for artisans. This exhibition stands as a testament to the depth of inspirations and reverence that have shaped cultural expressions throughout the ages. We hope to see you in the gallery to reflect and be reminded of nature’s enduring power to inspire, protect and transform.
Written by
Shruti Trivedi, Gallery Director & Designer
Shivam Sachdeva, Head of Operations
Brian Wood, Gallery Intern
A Butter Lamp Depicting Gaja Lakshmi Southern India, 17th century Bronze
11 1/4 in. (28.58 cm.) high
Published: Vidya Dehejia. The Sensuous and The Sacred: Chola Bronzes from South India. Exh. cat. New York, Seattle and London, 2002. cat. 58, pp. 216-220.
Composite Beast
Jaipur, India, circa 1850
Opaque watercolor heightened with gold on prepared paper
7 ⅞ x 12 in. (20 x 30.5 cm.)
Published:
Collection of Dr. Robert and Mrs. Patricia Jacobsen, Minnesota, by 1995.
Exhibted: On loan to the Minneapolis Institute of Art, June 1995-1996.
The impressive pursuit of composite animal illustrations, often associated with Indian painting, traces its roots to early Buddhist manuscripts in Central Asia. By the end of sixteenth century, the subject reached great popularity among Persian miniaturists, and subsequently influenced the Indian schools of miniature painting, including the Jaipur school that produced this fine work. In the present example, the figure, perhaps a maharaja, wears sleeves and pantlegs created with makara-like beasts, while his turban and shoulder pads are formed by lionheads, alluding to royalty and power. He commands control of the large beast by an attached snake acting as its leash. The beast is a masterful ensemble of a diverse array of fauna, including tigers, crocodiles, rams, doves, an elephant, and even a human woman and child.
Tethered Elephant Mewar, India, circa 18th century
Inscribed in Devanagari script in the red border above: “Guthi bedi sal bakar (Intertwined chains round the legs of a year old bull)” Gouache and prepared paper Folio: 7 x 10 in. (17.8 x 25.4 cm.)
Image: 5 3/4 x 8 3/4 in. (14.6 x 22.2 cm.)
Provenance:
Estate of Thomas Williamson (Orinda, CA) Merryvale (San Francisco, CA)
Collection of the Maharana of Mewar (A printed seal of the “Curious House” Mewar / inventory number 226 on verso) 13 (on left) 14
Decorative Cranes
Persia, 20th century
Gouache and gold on paper
8 ⅝ x 6 in. (21.9 x 15.2 cm.)
Provenance:
Collection of Hellen and Joe Darion
20 x 20 in. (50.8 cm.)
Majnun in the Wilderness India, Mughal or Sub-Imperial, mid-17th century
Opaque watercolor on paper heightened with gold Image: 7 ⅜ by 4 ¼ in. (18.7 by 10.8 cm)
Folio: 8 ⅜ by 5 ⅜ in. (21.3 by 13.6 cm)
Provenance:
Arthur B. Michael Fund, 1942.
Collection of Albright-Knox Art Gallery, Buffalo.
Samudra Manthan: Kurma Avatar Pahari, Guler, India, circa 17801800
Opaque watercolor heightened with gold on paper 8 x 4 ½ in. (20.3 x 11.4 cm.)
Vishnu and Lakshmi on Shesha Guler, India, early 19th-century Opaque watercolor heightened with gold on paper
Image: 4 ¾ x 6 in. (cm.)
Folio: 5 ¾ x 7 in. (cm.)
1804-1821
Opaque watercolor heightened with gold on paper 14 ½ x 12 ¾ in. (36.8 x 32.4 cm.)
From an observation tower in the upper right portion of the illustration, Rao Raja Bishan Singh watches a pair of elephants in combat. A hectic scene unfolds below him as the mahout seated atop one of the attacking elephants struggles to control the crazed animal. Handlers holding spears and forked blades scatter for their lives as the elephants clash together, their bells and streamers flying. The dynamic composition, accentuated by the diagonal lines of the architecture and tumbling elephants, creates a sense of drama as the violent battle ensues.
During his travels to India, the French physician François Bernier (1620-1688), gave an account of elephant combat that speaks to the intensity captured in the present painting:
“A wall of earth is raised three or four feet wide and five or six [feet] high. The two ponderous beasts meet one another face to face on the opposite sides of the wall... The riders animate the elephants either by soothing words, or by chiding them as cowards, and urge them on with their heels, until the poor creatures approach the wall and are brought to the attack. The shock is tremendous and it appears surprising that they should even survive the dreadful wounds and blows inflicted with their teeth, their heads, and their trunks. There are frequent pauses during the fight; it is suspended and renewed, and the mud wall being at length thrown down, the stronger more courageous elephant passes on and attacks his opponent and, putting him to flight, pursues and fastens on him with such obstinacy that the animals can be separated only by means of cherkys, or fireworks, which are made to explode between them.”
Brahma and Saraswati on a Lotus Guler, India, mid-18th century
Opaque watercolor heightened with gold on prepared paper
7 ¾ x 6 ½ in. (19.7 x 16.5 cm.)
Leaf from the Bhagavata Purana
Depicting Vishnu and Garuda: The Liberation of Gajendra (Gajendra Moksha)
Bundi, India, 18th century
Gouache heightened with gold on paper 7 ⅝ x 11 ⅛ in. (19.4 x 28.3 cm.)
Provenance:
Collection of the Marquess of Tweeddale.
Private New York Collection, acquired in the 1990’s. 22
Maharana Bhim Singh on Horseback Rajasthan, India, late 19th century
Opaque watercolor heightened with gold on paper
Folio: 13 ⅞ x 10 ½ in. (35.3 x 26.7 cm.)
Image: 12 ¼ x 9 ¼ in. (31.1 x 23.5 cm.)
Central India, Madhya Pradesh, 10th century Sandstone
21 x 15 ½ x 7 ¾ in. (53.3 x 39.4 x 19.7 cm.)
Provenance: With Jean-Claude Moreau- Gobard by the 1960s.
A bronze figure of Bhu-Devi, consort of Vishnu South India, 18th century
Bronze
12 ⅕ in. (31 cm.) high
Provenance:
Guseppe Tucci (1894-1984) was an Italian Orientalist, Indologist and scholar of East Asian studies. Private Italian collection, given to the owner’s father by Giuseppe Tucci in the 1940s.
The Boar Udaipur, Rajasthan, India
Opaque pigments on paper
Image: 8 3/4 x 7 in. (22.2 x 17.8 cm.)
Folio: 10 x 8 1/2 in. (25.5 x 21.6 cm.)
Published:
J. Bautze, Indian Miniature Paintings c.1590–c.1850, exhibition catalogue, Amsterdam, 1987, no.23, p.61.
Exhibited:
“Indian Miniature Paintings” c.1590–c.1850, Amsterdam, 1 October–30 November 1987, no.23.
Provenance:
Christie’s Amsterdam, 12 October 1993, lot 34.
Christie’s London, 12 June 2018, lot 28. October–30 November 1987, no.23.
Translation by Dr. Harsha Dehejia
Inscribed in Sanskrit:
Loss of property, mental anguish, Death of sons, terrible fear, Death, sorrow, suffering: A boar indicates all this.
The present image depicts a lone boar, standing at the river’s edge. Its finely rendered hair and almost human eyes belie a robust figure with dangerously pointed tusks. The rust colored sky creates an ominous air—a sense of danger. According to the Sakunavali, the boar, categorized as ‘neshta,’ is an ill omen.
The rendering of the landscape, with the river’s zigzagging indentation of the foreground, and the differentiated colored background in rust and blue, are conventions of the Sangram Singh period. Compare the treatment of the water’s edge to a folio from the Sat Sai, produced in the same workshop (see A. Topsfield, Court Painting at Udaipur Art under the Patronage of the Maharanas of Mewar, Zurich, 2002, p. 144, fig. 116).
27
Palki Handle in Lion Form
India, 19th century
Brass casting
7 x 9 x 4 in. (17.78 x 22.86 x 10.16 cm.)
Provenance:
From the Collection of Eugene V. and Clare E. Thaw.
28 (on right)
Painted Saddle
Tibet, 15th–17th century
Gilt and varnished wood and leather, with gilt-iron frames
24 x 14 in. (61 x 35.6 cm.)
Published:
Himalayan Art Resources (himalayanart.org), item no. 7504.
Exhibited:
“Indian Miniature Paintings” c.1590–c.1850, Amsterdam, 1 October–30 November 1987, no.23.
Provenance:
Private collection, England, by repute. Runjeet Singh, London, 28 December 2020.
Illustration from the Bharany Ramayana:
The Monkey Army Intruding Upon a Demon’s Cave
First generation after Nainsukh and Manaku India, Punjab Hills, Kangra or Guler, 1775-1780
Opaque watercolor heightened with gold on paper
Image: 7 ⅝ x 11 ⅝ in. (19.4 x 29.5 cm.)
Folio: 9 ⅞ x 14 in. (25.1 x 35.6 cm.)
Provenance:
Collection of Dr Alma Latifi, CIE, OBE (1879-1959).
Sotheby’s New York, 5 December 1992, lot 163.
This folio originates from the Bharany Ramayana series, named after collector and dealer C.L. Bharany. The painting is attributed to the first-generation Kangra masters following Nainsukh and Manaku, earning it the moniker ‘second Guler Ramayana.’ Its lineage, tied to both artistry and collectors, elevates its status as a highly sought-after collectible.
The scene depicted, portrays a battle between monkey army troops and a demon within a cave. Sugriva, the benevolent monkey king of Kishkindha, witnessed Sita’s abduction and, exiled at the time, saw her throwing jewels into a cave, hoping to create a trail for Rama. The painting captures Sugriva confronting a demon in that cave, intending to inform Rama and Lakshmana of the incident.
The intricate scenery, marked by airbrushed trees and flying birds, conveys a sense of passing time. The foregrounding and backgrounding of flora and fauna enhance the overall artistic richness. The iconographic and stylistic representation of the Ramayana aligns with the ‘Tehri Garhwal’ Gita Govinda and the ‘Modi’ Bhagavad Purana. According to W.G. Archer, the series was commissioned by Raja Sansar Chand of Kangra’s mother for his wedding.
Other illustrations from the Bharany series are housed in esteemed institutions like the San Diego Museum of Art, Brooklyn Museum, Metropolitan Museum of Art, Rietberg Museum, Philadelphia Museum, and Minneapolis Museum.
11.5 in. (29.21 cm.)
32
Matrika Lotus Mandala
Nepal, 16th-17th century
Copper alloy
Diameter: 7 ⅛ in. (18.3 cm.)
Published: Himalayan Art Resources, item no. 7628.
A bronze lotus springs from a stem decorated with foliate sprays at each of the stepped base’s four corners. Each of the eight movable petals is cast to convey several layers of the closed lotus bud. The goddesses within are identified by the implements they carry and their vahanas (mounts), corresponding to those of their male counterparts: Varahi atop a buffalo, Mahalakshmi atop a lion, Maheshvari atop Nandi, Vaishnavi atop Garuda, Indrani atop an elephant, Kumari atop a peacock, Brahmani atop a goose, and Chamunda atop a corpse. The present example bears a striking resemblance to the sixteenth-century Navadurga lotus mandala at the Newark Museum of Art (acc. 90.400).
Shiva Under the Influence of Bhang Kangra, 1810-1820
Bundi, India, 18th century
Opaque watercolor heightened with gold on paper 11 ¾ x 7 in. (29.5 x 18 cm.)
Provenance:
5 1/2 x 3 x 7 1/4 in. (13.97 x 7.62 x 18.42 cm.)
Provenance:
Connecticut collection by repute.
Maharana Bhim Singh on Horseback Rajasthan, India, late 19th century
Opaque watercolor heightened with gold on paper
Folio: 13 ⅞ x 10 ½ in. (35.3 x 26.7 cm.)
Image: 12 ¼ x 9 ¼ in. (31.1 x 23.5 cm.)
The present portrait depicts Maharaja Bhim Singh (r. 1778–1828) on horseback. He is dressed in a white jama with a scrolling vine motif interspersed with bright orange stripes and an orange pagri adorned with a bejeweled sarpech. Strands of pearls wrap around his neck and wrists. His chocolate brown stallion, who’s plaited silver mane is adorned with flower blossoms, wears an embossed gold bridle with delicate floral detailing. Besides them is an attendant who, along with the Maharaja, carries a katar in his belt.
Compare to a similar portrait of Bhim Singh at the La Salle University Art Museum (acc. 93-O-193). Likely from the same workshop, these two paintings share many of the same features, particularly the Maharaja’s upturned upturned eyes and curved nose, as well as the horse’s embossed bridle, the stylized clouds and the rippling jamas worn by the Bhim’s attendants.
Location, Date
