Indian Harvest: Part 2
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Maharaja Raj Singh of Sawar (r. 1705-30) with his Orchestra of Young Women
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Jyestha, the Month of Heat (from a Baramasa [Twelve Months] manuscript)
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Maharana Bhim Singh of Mewar Returns from a Boar Hunt
The painting depicts Maharana Bhim Singh of Mewar (r. 1778-1828) returning from a boar hunt with his attendants and retinue. The haloed king is mounted on a caparisoned horse holding a pig-sticking spear. He wears a green jama, or robe, that is associated with aheria, or the spring hunt, when boars are hunted in Rajasthan. According to Rajasthani tradition, it is believed that the outcome of aheria fortetold the fruitfulness of the kingdom for the year ahead. Bhim Singh's had a successful hunt, alluded to by the several slain wild board strapped to the backs of the camels leading the procession. At the bottom corner of the image are two members of the hunting retinue with Saluki hounds, which were commonly used during boar hunting for stalking, chasing, and, at times, killing. A facloner is also present among the procession. The attendants carry the necessary royal attributes: two attendants carry fly whisks while one holds a sun-faced standard, which accompanies any Mewari royal procession. The sun is a symbol of the Mewar royal family who believed that they were descendants of it. This painting was executed before Bhim Singh became the first maharana of the Princely State of Udaipur.
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"Crime Passionnel": An Outraged Husband Murders His Unfaithful Wife and Her Lover
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Shield with scenes of hunting lions
The shield, made of lacquered rhinoceros hide, is painted with four vignettes featuring large golden lions: one attacks a rhinoceros-like creature; one attacks a goat; one attacks a boar; and the final one sits with its paw up. The rest of the shield is decorated with flowers, plants, and a large tree filled with monkeys. At the center of the shield is a large, painted medallion that is flanked by four silvered bosses. The bosses are faceted to give the impression of being set with diamonds. The back of the shield features a marbled pattern made of red and black lacquer. The shield is missing the four rings that would have secured the bosses into place, as well as the cushion that protected the forearm.
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Portrait of Maharaja Kumar Sawant Singh of Kishangarh (r. 1748-57)
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Krishna Dancing with the Gopis (from a Gita Govinda [Song of the Cowherd] manuscript)
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Kakubha Ragini, Lady with Three Peacocks, from a Ragamala Series (Garland of Musical Modes)
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Ravat Jasvant Singh of Devgarh (r. 1737-76) with His Inner Circle of Nobles
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A Kota Ruler as Krishna's Form Brijnathi Hunts by Moonlight
This painting depicts, on a moonlit night, Krishna, the eighth avatar of Vishnu who is worshipped as a god in his own right, hunting. He hunts with a matchlock gun from within a small enclosure accompanied by gopis (milkmaids), who also participate in the sport. In front of the enclosure, is an artificial watering hole, which has drawn an unsuspecting herd of deer. The lush landscape is filled with other animals that were commonly hunted in Rajasthan, including tiger, black buck deer, and boar. 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, Kota School.
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A Priest makes Offerings to Shrinathji at Jal Vihar (Water Sports Ceremony)
The priest is offering fire to Sri Nathji, an important local form of the god Krishna (Vishnu) and the focus of regional pilgimages to his shrine.
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Maharao Durjan Sal of Kota Plaiting Krishna's Hair
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.
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