INDIA

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a Miniature sHiKHara GUARDED BY A Pair Of MaKaras anD feMale attenDants

Madhya Pradesh, probably gwalior region, India 10-11th century Sandstone 41,5 cm (h) x 40 cm (w) x 21 cm (D) Provenance: Simon ray collection, 2008 Bruno Cooper collection Price : 11.000 euros

ObjeCt PReSented by:

farah Massart M.:+32 495 289 100 E.: art@famarte.be W: www.famarte.com

This sandstone architectural fragment depicts a miniature North Indian temple tower or Shikhara. Two female attendants or possibly river goddesses at each side emerge from the mouth of a pair of makaras. The pink glow in the sandstone suggests the region of gwalior in the north of Madhya Pradesh as the place of origin. Makaras are mythical aquatic creatures with the body of a crocodile and the trunk of an elephant. They are often seen at the entrance of the temple, and considered by the Hindu's to be auspicious and purifying by their association with water.

The combination of two beautifully jewelled and dressed goddesses issuing from the mouth of two makaras portrays an image of pronounced sensuality, and ensures a protective auspiciousness for the small shrine.

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frieze WitH Musicians

rajasthan or Madhya Pradesh, India 11th century red sandstone Width : 104 cm Provenance : Sotheby's auction in new-york, 1985. Price on reques

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Christophe Hioco M.: +33 (0) 1 53 30 09 65 E.: info@galeriehioco.com W: www.galeriehioco.com Made of red sandstone, this frieze is decorated with a celestial procession of eleven musicians, and bears witness to the flourishing artistic production in India during the medieval period.

A sacred musical scene In full performance, they adopt very stylized poses, which contribute to the dynamism of the representation. Most of them have one knee on the ground, while the other leg is bent perpendicular to the ground. They hold various instruments, including cymbals, horns, flutes and drums. The circular shape of the frieze indicates that this element originally decorated the dome of a religious structure, a space corresponding to the border between the profane and sacred worlds. The sculptors were inspired by a real orchestra to create the representation of a celestial musical procession. Thus, a connivance is created with the faithful since it brings this scene closer to certain events of its daily life.

religious dynamism in medieval India Created in the eleventh century, this work is part of a context of architectural frenzy. Indeed, many Hindu temples and sanctuaries were erected in central India during this period. This phenomenon goes hand in hand with the political fragmentation of this region. Under the impulse of dynasties that shared the power, many architectural complexes were built, before the territory came under the Muslim yoke during the establishment of the Delhi Sultanate. One of the most famous examples of this effervescence is the complex of Khajurâho, known worldwide and where we find the same stylization of forms, the same dynamism of the bodies. Indeed, the sculpture of central India in the medieval period presents a lot of vivacity, while abounding in rich details.

The reign of expressiveness The musicians have particularly expressive faces, with stylized and round contours, with large eyes under wide eyelids. They sketch meditative smiles,

appropriate to their divine status. They are adorned with jewels and ornaments such as stoles and earrings in the shape of a disc, reinforcing the precious side of the representation. The narrative register is delimited by two decorative friezes of deeply incised stylized petals. In the lower part, a fine frieze with chevron motifs closes the representation.

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illustratiOn tO a RAGAmAlA SERIES: TODI RAGInI

Provincial Mughal 18th century Opaque watercolor heightened with gold on paper Image: 7 ⅛ x 4 ⅞ in. (18.1 x 12.4 cm.) folio: 13 x 10 in. (33 x 25.4 cm.) Provenance: Private British collection. christie's South Kensington, 1 October 2012, lot 97. Price on request

ObjeCt PReSented by:

Kapoor galleries M.: + 1 (212) 794-2300 E.: info@kapoors.com W: www.kapoors.com

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Ragas are melodies that serve as templates for improvisation within the ancient classification system of Indian music. While each melody has a certain structure, there are infinite songs that can be produced within each mold. Ragamala (or ‘garland of Melody') paintings aim to capture each melody's mood or sentiment into visual forms, which are categorized into thirty-six male and female personifications—ragas and raginis, respectively. Often focused around ‘love in union' and ‘love in separation,' each painting is meant to evoke the feeling or color of the melody rather than a specific narrative, and they are often associated with particular seasons, regions, and times of day.

The present painting depicts Todi ragini, which is believed to be a song sung by village girls while guarding the ripening fields against deer. The melody is said to enchant the deer, preventing them from feeding on the village crops (Ebeling, 60). Here, Todi ragini is depicted as a lonely nayika who plays her veena in the forest, surrounded by deer who listen to her song.Expressing the tender longing of separated lovers, the deer that flock to her serve to underscore the woman's isolation as she plays her somber tune. The flowing green grass, blooming lotus flowers, and brilliant golden sky are meant to evoke the mood of a spring morning, “as the sun's rays have lit the earth at dawn,” at which time the Todi ragini is meant to be played. Compare to another Todi ragini folio circa 1725 at the Philadelphia Museum of Art (acc. 1977-12-1).

references: Ebeling, Klaus, Ragamala Painting, New Delhi, 1973.

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nanDi

Tamil-Nadu, South India cōla dynasty 11th-12th century granite Height: 36 cm Provenance : french private collection before 2000's galerie Barrère Price on request

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Christophe Hioco M.: +33 (0) 1 53 30 09 65 E.: info@galeriehioco.com W: www.galeriehioco.com Dated to the 11th-12th centuries, this sculpture is part of the productions made under the cōla rulers, the majority of which are of śivaitan obedience.The traditional mount of the god Śiva, nandi's name means “who gives joy”. Both a symbol of virility -embodying the destructive power of the god -and his first devotee, he occupies an important place in śivait iconography.

A treatment as realistic as it is ornamental Here, the animal lies on its right side on a small oval base. It is depicted in a very realistic posture, with its legs folded under its body. The hoof of its right front leg is resting on the base in an assertive attitude. Its horns are slightly protruding, in accordance with the iconographic codes attributed to Nandi. rich details enhance the sculpture, notably the embroidered carpet that covers the animal's body. Garlands of flowers adorn its neck, while sacred cords join itstwo ears. These elements contribute to the finesse of the sculpture and its ornamental aspect.

A refined art The bull's eyes are wide open and surmounted by pronounced superciliary arches, like the statues of anthropomorphic deities. These features place this work in the aesthetics of the second cōla period, where the silhouettes are slender, the plastics long and the facial features accentuated. The softly modelled sculptures make cōla statuary a refined and highly prized art form.

A witness to the popularity of the śivaita cult This work has its origins in the cultic context of the cōla dynasty, whose śivaitan rulers erected numerous temples, notably at gangaikondacholapuram, Pullamargai and Tanjore. At Tanjore, in the rajarajeshvara complex, the bull Nandi is housed in a hypostyle pavilion that is an extension of the temple and mandapas. Its position within the complex testifies to its special status, and the specific cultic practices

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that were dedicated to it. Later, a statue of Nandi was erected in front of the rajendracholeshvara temple, testifying to its ever-growing popularity. This nandi bull is thus part of the cōla cultic and architectural tradition, while adopting the cōla canon, with its recognisable features.

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an illustratiOn tO THE RAmAYAnA: RAmA anD laKsHMana

Attributed to Pandit Seu Basohli Circa 1730 Opaque watercolor heightened with gold on paper Image: 8 ¼ x 12 ¼ in. (20.1 x 31.1 cm.) folio: 8 ½ x 12 ½ in. (21.6 x 31.8 cm.) Provenance: Collection of r. Hale, California, acquired by the family in the 1960s. Price on request

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Kapoor galleries M.: + 1 (212) 794-2300 E.: info@kapoors.com W: www.kapoors.com

The present painting is attributed to the famous, yet elusive artist, pandit Seu. The honorific title ‘pandit' probably denotes that the family was originally of the Brahamanical order. While it is speculated that he lived from 1680-1740, it is rare to find any dated or signed works by his hand, resulting in a small number of paintings attributed to him.

Pandit Seu was working at a time when the fundamentalist Mughal ruler Aurangzeb had disbanded his ateliers, forcing Mughal artists to search for patronage in rajput kingdoms and simultaneously disburse their style into other regions. As this was happening, Pandit Seu traveled outside of guler to the plains and made contact with Mughal artists who taught him their painting techniques. He brought these back to guler and Basohli and is credited with aiding in the shift to a more formal style within the greater Pahari region.

In the present portrait of the Ramayana's protagonists, this Mughal influence is apparent. The figures appear as strong individuals, assuming a space that belongs entirely to them rather than in an overlapping fashion typical of earlier rajput painting. The face of each figure is unique, with Rama's low eyes and his voluminous hair fully distinguished from lakshmana's clean hairline and downturned nose. Their flowing garments are highlighted by the stark, monochromatic yellow background characteristic of the Pahari tradition. This painting serves as a benchmark for the beginning of an exploration into depth and naturalism in the Pahari region

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a biDri PanDan

India, Deccan, Bidar Circa 1800 Alloy composed of zinc, tin, copper inlaid with silver Height: 9,5 Width: 12,5 Depth: 8 cm Price: 3.500 euros

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Alexis renard T.: + 33 1 44 07 33 02 E.: alexis@alexisrenard.com W: www.alexisrenard.com This box is made of bidri, an alloy composed of zinc (for which the extraction was mastered at an early period in India), tin and copper inlaid with silver. The name of that type of object and technique is derived from the city of Bidar, in the Deccani region. Luxurious boxes with compartments like this one, made for the use of betel nut or pan, were very sought after in South Asia. for a closely related example, see: Lal, K. (1990) National Museum Collection - Bidri Ware, Bombay: Tata Press, p. 106, N°119.

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sHiva as triPurantaKa, THE DESTROYER Of triPura

Mandi Circa 1750-1780 Opaque watercolor heightened with gold on paper Image: 7 ⅜ x 9 ⅝ in. (18.6 x 24.3 cm.) folio: 9 x 11 ½ in. (22.9 x 29.2 cm.) Provenance: royal Mandi Collection. The estate of Carol Summers (1925-2016). Price on request

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Kapoor galleries M.: + 1 (212) 794-2300 E.: info@kapoors.com W: www.kapoors.com

The narrative illustrated here is that of Shiva as the destroyer of Tripura, the three mythical demon cities in the sky. Tripura was gifted by Brahma to the evil demon Taraka's three princely sons as reward for undertaking severe penance. These impenetrable fortresses revolved around the sky and could only be destroyed by an arrow that could merge the three cities and set them ablaze. With these boons, the three princes abused their power, wreaking havoc across the universe and taunting the gods. Unable to stand against the princes' power, the gods begged Shiva for help.

In order to defeat Tripura, Shiva crafted his weapons from pieces of the other gods. His chariot, made from the earth, is depicted here, upheld by wheels made from the sun and the moon. Brahma, the Creator, with four heads and four arms, is his charioteer. Shiva's bow, made from Meru the mountain, is strung with the serpent vasuki, who can also be seen wrapped around Shiva's neck. Shiva's cosmic arrow, which he used to destroy all three cities in a single shot, is made from vishnu, the Protector, his blue face appearing on the tip of the arrow.

Tripura is not depicted as three separate cities, but instead, is personified into demon form. The scaled pattern on the demon's skin serves to represent the earth, and can also be seen on Shiva's mountainous bow. Scattered across the demon's chest and legs are buildings and animals, indications of the floating cities merged into flesh. This sort of representation helps to visualize Shiva's foe, not simply as three fortresses, but as a formidable enemy. It can also be taken to symbolize Tripura's metaphorical meaning as the three components of man: the physical body, the intellect, and the soul. By destroying Tripura, Shiva is said to have merged the three essential components of man into the supreme consciousness.

The reverse of this folio contains Devanagari numerals ‘48' and bears a stamp and inventory number from the royal Mandi Collection.

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an illustratiOn tO THE RAmAYAnA: SITA in ravana’s Palace

Mewar, India Early 18th century Opaque watercolor heightened with gold on paper 22,2 cm x 38,1 cm Provenance: Purchased in the U.S. in 1972 and descended in the Steig family. Price on request

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Kapoor galleries M.: + 1 (212) 794-2300 E.: info@kapoors.com W: www.kapoors.com

In the present illustration of the Aranyakakanda book of the great Ramayana, the demon King ravana appears in his palace surrounded by his wives and the daughters of gods and other divine creatures he has previously captured. Before him stands Sita, the wife of rama, who he has imprisoned. His fortress at Lanka is guarded by his animal-headed minions. This folio is representative of a playful style associated with the rajput principality of Mewar. The red and yellow borders, the prominence of primary colors in the overall composition, the execution of foliage with pointed leaves splaying out in a circular fashion from a central point, and the sharp profiles of each figure, closely match that of a folio from a dispersed manuscript depicting rama and Lakshmana searching the forest for Sita dated to circa 1680-1690 at The Metropolitan Museum of Art (acc. 1974.148).

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birD

India Mughal Period 17th century Watercolour on paper Miniature: 19 x 9 cm Price: 7.500 euros

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Alexis renard T.: + 33 1 44 07 33 02 E.: alexis@alexisrenard.com W: www.alexisrenard.com

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for a Mughal animal scene with a similar composition, see: Okada A. & Hurel R., exhibition Catalogue (Nice, Musée des arts asiatiques - from the 23d November 2002 to the 23rd february 2003) Pouvoir et Désir - Miniatures indiennes du San Diego Museum of Art, paris:paris-musées & Suilly-la-Tour: ed. findakly, pp. 54-55.

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Gaṇeśa dancinG on a lOtuS flOWeR

Northern India Pala period 11th century grey stone H: 63,5 cm Provenance: gantner museum collection Dodier gallery Price on request

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Christophe Hioco M.: +33 (0) 1 53 30 09 65 E.: info@galeriehioco.com W: www.galeriehioco.com Ga eśa, a particularly venerated god This fragment of decoration, carved in high relief, depicts Ga eśa dancing on a lotus flower, above a decorative frieze of small figures. A kneeling devotee is recognisable on the left, and in the centre an animal, whose very fragmentary appearance makes identification complex. Son of Śiva and pārvatī, this elephant-headed god enjoys great popular fervour, and is venerated in the various streams of Hinduism. He is the one who removes obstacles and contributes to the prosperity of any enterprise. As a gourmet god, his devotees honour him with offerings, especially sweets, which are placed underneath the god's statues.

The benevolence of the god conveyed through iconography Ga eśa is shown here with four arms representing the four paths of knowledge according to the vedas. Ancestral texts that constitute the foundations of both Hinduism and Buddhism, they are certainly at the origin of the mythology surrounding the god Ga eśa, particularly concerning his animal form. He holds in his hand the axe, paraśu, which is also one of Śiva's attributes, systematically present on his representations. This axe is said to remove sorrows and agitations. It also holds the knot, pāśa, which serves to capture error. All these attributes corroborate the benevolent image of the god, ready to answer the prayers of the faithful.

A dynamic composition created through pure forms Under the Pala dynasty, whose sovereigns were mainly Buddhist, religious diversity was nonetheless encouraged. Both Buddhist and Hindu temples were decorated with sculptures. Pala art emerged on the model of the gupta idiom, which had a great posterityin India, and which also spread to China, Japan and Korea. These canons are thus reused to create a separate entity in the Pala period. Here, the sobriety of the forms, the elegance of the movement, are particularly admirable and make this Ga eśa a very fine example of pala art. Despite his stoutness, the god sketches a gesture whose fluidity brings a particular expressiveness to the work. His trunk has a geometrical shape that also contributes to the dynamism of the work,

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and gives it a graphic aspect without equal.

The richness of the sculpted details The purity of the body's forms is complemented by the decorative treatment of the ornaments, in particular the tiara on the god's head, as well as the necklaces around his neck and the bracelets on his arms. His almost imperceptible clothing reflects the desire of Indian artists to create luminous images, in accordance with a religious requirement mentioned in the texts.

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A SUPERB GOlD beaD necKlace

India Himachal Pradesh 19th century Length: 43,5 cm Weight: 96 grs Price: 12.000 USD

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Sue Ollemans M: + 44 (0) 7775 566 356 E: sue@ollemans.com W: www.ollemans.com

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TWO GOlD AnD GlASS nOSERInGS

Central India Medieval Period 12-14th century Length: 2,5 cm Weight: 4 grs Price: 1.200 USD

ObjeCt PReSented by:

Sue Ollemans M: + 44 (0) 7775 566 356 E: sue@ollemans.com W: www.ollemans.com A near matching pair of nose rings comfortably worn as earrings. Two pieces of blue glass are mounted with granulated gold fittings and fixed by a gold hook to form each nose ring..

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