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Identification and Creation

Object Number
1995.95
People
Attributed to The Kota Master, Indian
Title
Maharao Durjan Sal of Kota Plaiting Krishna's Hair
Other Titles
Former Title: Maharao Durjan Sal of Kotah (r. 1723-56) Plaiting Krishna's Hair
Classification
Paintings
Work Type
painting
Date
c. 1730
Places
Creation Place: South Asia, India, Rajasthan, Kota
Culture
Indian
Persistent Link
https://hvrd.art/o/310834

Physical Descriptions

Medium
Opaque watercolor and gold on paper; Rajput Style
Dimensions
35.2 x 30 cm (13 7/8 x 11 13/16 in.)
framed: 66.04 x 58.42 x 1.91 cm (26 x 23 x 3/4 in.)

Acquisition and Rights

Credit Line
Harvard Art Museums/Arthur M. Sackler Museum, Gift in gratitude to John Coolidge, Gift of Leslie Cheek, Jr., Anonymous Fund in memory of Henry Berg, Louise Haskell Daly, Alpheus Hyatt, Richard Norton Memorial Funds and through the generosity of Albert H. Gordon and Emily Rauh Pulitzer; formerly in the collection of Stuart Cary Welch, Jr.
Accession Year
1995
Object Number
1995.95
Division
Asian and Mediterranean Art
Contact
am_asianmediterranean@harvard.edu
Permissions

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Descriptions

Description
The painting depicts Maharao Durjan Sal of Kota (r. 1723-1756) plaiting Krishna’s hair. The Maharao is distinguished by his double-pearl earring, elaborate dress and jewelry, and halo bordering his profile. Krishna, the eighth avatar of Vishnu, revered as a god in his own right. The enthroned blue-skinned deity also bears double-pearl earring, jewelry, and halo. Krishna gesters to a priest seated cross-legged in front of him, who wears a translucent shawl and white skirt. Three other figures face Krishna, either seated or standing. An attendant near the throne carries a long sword over his left shoulder. Behind Durjan Sal is an attendant carrying a fan made of peacock feathers.
The depiction of Krishna refers to Brijnathji, a local form of Krishna that was the family deity of the royal family of Kota. Brijnathji is frequently rendered either accompanying a ruler or participating in Kota courtly activities, conflates the deity with the ruler, fostering the concept of the “divine king”, and demonstrates a direct relationship between the king and god. Rajput Style.

Exhibition History

  • Indian Harvest: Part 2, Harvard University Art Museums, Cambridge, 02/17/1996 - 04/28/1996
  • Rajasthani Miniatures: The Welch Collection at the Arthur M. Sackler Museum, Harvard University, The Drawing Center, New York, 04/16/1997 - 06/07/1997
  • The Sensuous and the Sublime: Representations of Love in the Arts of the Middle East and Southern Asia, Harvard University Art Museums, Cambridge, 07/07/2001 - 12/30/2001
  • ReVisions, Indian Artists Engaging Traditions , Peabody Essex Museum, Salem, 04/04/2009 - 01/10/2010

Verification Level

This record was created from historic documentation and may not have been reviewed by a curator; it may be inaccurate or incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of Asian and Mediterranean Art at am_asianmediterranean@harvard.edu