Arcane Masters: Kapoor Galleries Masterpieces from India and the Himalayas

Established 1975

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This Catalog is dedicated in loving memory to my late Grandmother, Urmil Kapoor (1941- 018), and to my late father, ineet Kapoor (1967 - 015)

he pirit is neither orn nor does it die at any time It does not come into eing or cease to e ist It is un orn eternal permanent and prime al he pirit is not destroyed hen the ody is destroyed eapons do not cut this pirit fire does not urn it ater does not ma e it et and the ind does not ma e it dry he pirit cannot e cut urned et or dried It is eternal all per ading changeless immo a le and prime al tma is eyond space and time The Bhagavad Gita

With great pleasure and pride, I present Kapoor Galleries’ latest catalog. Among other masterpieces, this publication showcases a distinguished Kang i style bronze in the rare form of Chittavishramana Lokeshvara.

This catalog is also a celebration of the gallery’s forty-plus years of success as a family enterprise, and a tribute to my grandfather, Ramesh Kapoor, and late grandmother, Urmil Kapoor, whose pioneering efforts helped bring the field of Indian and imalayan art to where it is today. After India’s partition in 1947, Ramesh left Pakistan along with his parents and migrated from Lahore to Jalandhar, India. There, the government allocated his father, Shri Prashotam Ram Kapoor, an empty store where he could establish his own business. An avid reader, my great-grandfather always carried books with him, which led to a thrift merchant offering him an entire private library. Thereafter, my great-grandfather started a rental library, catering to Indian refugees whose displacement left them with ample time to read.

Purchasing this initial library collection spurred my great-grandfather’s passion for rare books and led to the acquisition of many private libraries. Some included illustrated books and manuscripts, which helped to propel our family into the field of what is now known as the Fine Art of Indian Miniature painting. When my grandfather finished college in 1958 and joined his father in business, the two worked together to establish relationships with museums and universities, supplying these institutions with coveted masterworks.

As the business grew within India, my family moved to elhi in 196 . My grandfather s first major break came in 1964, when he sold the famous imachal bronze Svacchanda Bhairavi to the ational Museum in ew elhi. Since then, it has been featured in many major publications including r. Pratapaditya Pal’s Bronzes of Kashmir.

Ramesh and Urmil married in 1967. Witnessing an increasing uropean and American interest in Indian Art, in March 1975 they immigrated to the United States and established Kapoor Galleries Inc. in ew York City.

Since establishment, Kapoor Galleries Inc. has played an instrumental role in educating the public about the ancient and classical Fine Arts of India and the imalayas while encouraging interest amongst both collectors and institutions. For over forty years we have been dedicated to building strong client-dealer relationships, earning the respect, loyalty, and trust of those with whom we build collections. My grandfather, has guided some of the most significant public and private collections of the 0th century, including The Metropolitan Museum of Art, the Los Angeles County Museum of Art, the Art Institute of Chicago, The San iego Museum of Art, and the irginia Museum of Fine Arts, just to name a few. With his unparalleled e perience, prodigious talent, sharp business mind, and impeccable ethics, my grandfather is a role model for how to be an asset to the art world. In 004, my grandparents made a substantial donation of Indian paintings to the orton Simon Museum in Pasadena California, which formed the core of the museum’s collection of Indian paintings.

I would like to take this opportunity to thank a number of people for their invaluable assistance and support: Henry, Yvonne, and Mete of ADM Advertising for their counsel, their contributions to this catalog, and their endless patience; Richard Wuchte of Toppan Merrill for his assistance in printing; my friends in the art world for offering their support and sharing their wisdom, the scholars whose critical research contributed to the identification and attribution of many of this catalog's works, including: Dr. Pratapaditya Pal who has offered me both guidance and my new personal mantra: “Stay healthy and become wealthy, but do not be stealthy,"; Jeff Watt and the team at Himalayan Art Resources, the numerous scholars and professors I have met during my time at SOAS, Pujan Gandhi, who is now the Jane Emison Assistant Curator of South & Southeast Asian Art at the Minneapolis Institute of Art (especially for his contributions to the portraits section of this catalog), Daniel Ehnbom, associate professor of art history at the University of Virginia, Dr. Gursharan Sidhu, Dr. V.C. Ohri, and last but far from least, Mitche Kunzman. I would also like to thank Clanci Conover for bringing organization to my scattered desktop as well as pioneering and streamlining the concept of an inventory and Livia Gao for her dedication, passion for perfection, temperament which keeps me always on my toes - never allowing for a dull moment, and skilled translation of the objects in this catalog. Without Livia and Clanci, this catalog would not be here for your viewing pleasure today. A special thank you to Douglas Gold- the round ball of joy and boundless energy that he is, equipped to handle any task, and Cameron M. Shay - my good friend and now business partner, who I am forever indebted to for offering me the opportunity to be a part of the legacy that is Graham Shay 1857: Pioneers in the field of 18th- 20th century American and European Art. Finally, I would like to thank my grandfather and late grandmother: for teaching me humility and directing my boundless energy into something constructive, while also making sure to keep my ego in check.

Enjoy this catalog, and I look forward to welcoming you to Kapoor Galleries Inc.

Sanjay Kapoor

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2世紀 銅 82

藝術

源

82 號

ro e ce 來源： oo ri 1930 ，1930年

This outstanding large and richly gilded sculpture is a rare early image of Vajrasattva of majestic size and naturalistic detail of the highest quality.

The odhisattva is depicted standing tall in a regal poise, adorned in an elaborate crown enclosing an image of Akshobhya, holding a vajra and ghanta.

The aristocratic features of his countenance are enhanced by the opulent crown, jewelry and ribbons.

Displaying tremendous power and presence, this figure demonstrates the marriage of Pala stylistic elements and the Tibetan sculptural tradition.

Vajrasattva is associated with the sambhogakaya and is invoked as a support for purification practices to dispel obstacles in tantric practice. The odhisattva is depicted here standing holding a vajra in his right hand and a ghanta in his left. The elaborate crown with beaded border is surmounted by a superbly rendered five-pointed crown.

The broad, square forehead is offset by the gentle curves of the face. The hair, ile high o he he c c e o er he o er ll mo l e ho l er he c rre ig re i o e o gro o hree hich re er clo el m che i le ico ogr h i e he ir i he ri i h e m i o her im ge

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r he eco i he le el e mo r i im ge o i re o h ill r e i r i l he r o e l ei e 1974 l 213 214 ic e l 214-21 here he o e he moo h l i i h m ke he ig re e ce io ll gr ce l a description which applies equally to the current sculpture. All three share the same combination of powerful standing posture and graceful curving form, and similar design motifs including the jewelery and other adornments and the intricate floral designs on the dhoti. o e h e W o im l r e o rce h i e i ie hi iece r re orm o r i r her h r See also similar iconography on a larger figure of Vajrasattva, from the collection of A. and J. Speelman assigned to Central or Western Tibet, eleventh to twelfth century, illustrated in Marylin M. Rhie, and Robert A. F. Thurman, Wisdom and Compassion: The Sacred Art of Tibet, London, 1996, p. 464, pl. 219. A possible origin of the unusual three-leaf crown type can be seen on an eleventh century Nepalese figure of Padmapani in the Cincinnati Art Museum, illustrated by Ulrich von Schroder, Indo-Tibetan Bronzes, Hong Kong, 1981, p. 329, pl. 86E.

金剛薩埵，Vajrasattva，其中兩個部分Vajra在梵語中是閃電和鑽石的意思，中文翻譯金剛或金剛杵，有無堅不毀 之意;而sattva意為有情眾生，是菩薩菩薩的字根。因此金剛薩埵也稱為金剛菩薩，代表著無堅不摧的菩提心。密 教中認為修習金剛薩埵法門可止一切惡念，破一切煩惱，淨化罪惡與污穢，並生無量福智。 其形象通常右手執金剛杵，表示摧破十種煩惱;左手執金剛鈴，表示清淨的佛法之音警覺一切有情。在佛教造像 藝術中，金剛薩埵以雙盤坐像較為常見，而此尊金剛薩埵，以挺拔優美的站姿呈現，加上尺寸高大，實屬罕見。 此尊金剛薩埵身形健碩，昂首挺胸之姿彷彿表明了他堅定的意志。柔美的手型為立像注入動感的同時，又引領我 們的目光自下而上，順著掌中的金剛杵，滑過優雅的輪廓和精美的裝飾，最終落在菩薩靜謐的面龐和權威的寶冠 上。 菩薩表情祥和，豐潤的雙唇笑意盎然，所表現出的清淨喜悅之氣令人望之心生嚮往。精巧的三葉寶冠中央端坐著 五智佛之一的阿閃佛，代表大圓鏡智或金剛智，耳璫垂肩，繒帶飛揚於耳際，並均飾有豐碩飽滿的花瓣裝飾。 在早期的西藏，鑄造如此體量的鎏金銅像，不僅需要豐厚的財資基礎，更需要篤定的信仰支撐。歷史千轉百回， 而這份千年前的虔誠恭敬如今通過這件藝術品，完完整整地呈現在我們面前，溫潤而又充滿力量。 菩薩站姿挺拔，軀體弧度優美，肌肉線條結實，周身佩飾華麗精美，較高臂釧體現尼泊爾造像風格在早期西藏造 像中的影響。上身袒露，下身著輕薄貼體及膝長裙，系束帶並打結，衣緣鏨刻梅花紋樣，頗具裝飾意味。 與卡普爾畫廊所藏這尊金剛薩埵在尺寸，造像，和風格上都極為接近的塑像另有兩尊。一尊收藏於大英博物館， 另一尊收藏於美國克利夫蘭藝術博物館。類似造像特徵還可參見Marylin M. Rhie和Robert AF Thurman著“慈悲與 智慧：藏傳佛教藝術大展” ，1996年，第464頁，彩圖219，以及烏爾里希·馮·施羅德著“印度西藏銅像“1981 年，第329頁，彩圖86E。 這尊金剛薩埵立像尺寸高大，做工精湛，鎏金飽滿，金色亮目，實屬早期金剛薩埵造像中極為精妙莊嚴的罕見之 作。 LG

Maitreya

Circa 14th century 世紀 Tibet 藏 Gilt bronze 銅 16 x 11 2 in. (40.6 x 29 cm.)

82 0 藝術

源

82 0號

ro e ce 來源： ri e E ro e collec io 人 藏

A Newari master most likely cast this rare and commanding sculpture while working under the patronage of a leading monastery in Central Tibet, possibly Shalu. This figure likely represents the Future Buddha Maitreya, but it could possibly be a depiction of Manjushri. Richly gilded and adorned with semi-precious stones, the treatment of the adornments, prominent chin, tresses across the shoulders, and modeling of the body are all consistent with the rendering of the Five T Tathagatas in the South Chapel of Shalu mona monastery, painted in the second quarter of the 14th century.

Compare with a Manjughosa held in the Shalu monastery, published in von Schroeder, , 2001, pp.959, no.229C. Also see a 14th century Vajradh Vajradhara in the Jokhang in Lhasa, (ibid., p. 962, no. 231E), and a closely relate related figure in scale and detail sold at Sotheby’s, New York, 23 March 2007, lot 55.

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彩繪銅 8

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源

8 號

ro e ce 來源： oro o ollec io ih i k o o o c 199 hri ie e ork 14 rch 2017 o 209 藏家 199 年 i k o 紐約佳士得 2017年3月14日, 拍 209號

In Sanskrit Maha translates to great and Kala to time/death. Mahakala is the primary Buddhist Dharmapala and is respected in all schools of Tibetan Buddhism. All names and colors are said to melt into Mahakala, symbolizing his all-encompassing nature and lustrous black skin.

He is seen as the absolute reality. Shadbhuja, the six-armed Mahakala, is a favorite

ho rgl - h e r m hich arouses the mentally-clouded from their ignorant state, putting them back onto the path of Dharma. The sound which emanates from the damaru is supposed to be the same as that which manifested all of existence. A rosary of dried skulls adorns the uppermost right hand; this symbolizes the perpetual activity of Mahakala on a cosmic scale, as rings are inherently continuous. The secondary left hand holds a noose, whose function is to lasso those straying from the divine path of Dharma. The skin of an elephant is held taught across the back of Mahakala in his upper left hand, symbolizing the ability to overcome delusion.

amongst the Gelukpa order of Tibetan Buddhism. Shadbhuja is recognized as the fierce, powerful, and wrathful embodiment of the Bodhisattva of compassion Avalokiteshvara. In this elegantly cast piece attention to fine detail is evident throughout the sixarmed form. In the primary left hand is a skull cap (kapala) filled with minced remains of enemies to Dharma. In the primary right hand lies a crescent shaped chopper (katrika) or curved knife, which corresponds to the shape of the skull cap so it can be utilized for making the “mincemeat ” The chopper is a representation of detachment from samsaric existence. Within the secondary right hand lies a damaru, ， h k l ， 此 。 相， 格

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4

Je Tsongkhapa

Circa 18th century 8世紀 Mongolia Gilt bronze 銅 17 in. (45 cm.)

HAR no. 8037

藝術

源 80 號 Joel Chen, a renowned antiques and mid century design dealer in Los Angeles, has filled his great room with collected treasures.

ro e ce 來源： rom he collec io he c ire i i he 1970 he 1970年 紐約

Credit: Laure Joliet for The New York Times

Tsongkhapa, also known as Je Rinpoche, was born in the Amdo region of Tibet in 1357. He was a highly respected Buddhist scholar and is credited as being the founder of the Gelug Buddhist sect, known as the “Yellow Hat” sect, one of the most powerful and widespread in the Buddhist religion. Revered as an incarnation of the bodhisattva Manjushri, he was reported to have seen and conversed with the deity from a young age. om re hi o er l iece rel e gil - ro e ig re o o gkh 18 h ce r ill r e i i o re re o i e r ollec io o he c e rch i e mo i e 70 o 22

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Avalokiteshvara

Circa 9th-10th century 9 0世紀 Nepal Bronze 銅 13 1/2 in. (34.2 cm.) ro e ce 來源： c ire i o o 1977 hri ie e ork e em er 14 2010 lo 70 1977年 藏 紐約佳士得，2010年9月114號，拍 70號

i righ h r i e i he h m r i h ch kr o he lm hi le i r m r he ce i h lmo h e e e rche ro e ri g lo g ho i ec re i h or e el loki e h r reg ll i h hi le leg ligh l e cre hre r e cro hi or o elo e ki cro hi ho l er lor l h ro hi i high he i or e i h i l i e elr he re ce ere hi i el mo ele c lre i er l e ile i h lor l g rl i e g r e el or e coi re i h i ci e r o h ir re i h erl i g gil i g righ er eco r ire gil i g o e ee i e rl ro e he more o e re e gger e hi e ll or circ 10 h ce r e he cro e r ce r l like eleme hich co l e o e im ge o i re h c e com re i h rel e e m le ormerl i he oh er he or ollec io or im ge e ri g he k ik i he le h ee l ol 1 1974 c o 212 or l er e m le i h imil r ci l e re lor l mo i o he el h o he cro ee l r o e l 198 10 ig 2

此尊 立 左腿 ，左手 印，右手抬 ， 印， 印有 。 ， 高 的 相 ， 典 。尊 束 高 ， 戴 冠，其 有 。上身 露， 披 皮 ， 戴 ， 。腿 。下身 部 ， 有珠 。 尊 ， ， ， 明。 的 和明 火 其 期 。 的 身 姿和 的 其 10世 左右。 此尊

冠 的 可 其 ，可 oh er he or 藏 。 外可 一尊 期左手持 ， ( l he r o e l 卷 一，1974， 212) 于 有 面部 和 的 期示 ，可 ( l he r o e l 198 ， 2 )。

Amoghapasha

Circa 15th century 世紀 Nepal Copper 紅銅 5 3/4 in. (14.6 cm ) HAR no. 41061

藝術

源

0 號

ro e ce 來源： ollec io o eo ro ri ce o e er e c ire rom e er o er l o e er e 4 c o er 1972 eo ro 人 藏 1972年10月4日 藏 e er o er l o

i el mo ele i gi ligh l le e o e o lo e i h oi e e l hi eigh r i i g rm hol i g r ri e lo k ik l o ro r i l i g he ge re o ch ri e chi g hi ro ce i rmo e ll cro ecre i g imi i e mi h e le i hi chig o mogh h re re e ric orm o loki e h r i r ic l rl o l r i e l here he i reg r e he el r ei o he K hm lle he e le e le i o h gr ce l co er i e om re he imil r li he o c c i g ol h co ec i h he lo eo ce ic loki e r li he i o chroe er i e l 2001 02 o 16 ee 1997 l 230 om re l o o 1 h ce r h o mogh hel i he ic ori l er e m ( 8-1977)

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Avalokiteshvara

Chitta ishramana Lokeshvara 17th century 世紀 Qing Dynasty, Kangxi Style 風格 Gilt Bronze with inlay 銅 6 in. (15.5 cm.)

HAR no. 8288 藝術 源 8288號 ro e ce 來源： i ri e collec io e 1999 i h Koller c io 瑞士 人 藏 拍 ，1999年6月11日 li he

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This extremely rare sculpture shows Avalokiteshvara, “The lord who looks down” in his emanation of Chittavishramana (Semnyi Ngalso), gazing upon all beings with great compassion.

Executed by a master hand, this exquisite sculpture encapsulates the distinctive imperial style created during the Kangxi period.

Chittavishramana is the state in which the Bodhisattva has purified all obstacles through the practice of great compassion and wisdom, and is resting in the nature of mind. Seated in this Rajalil sana-esque posture, he is depicted with his right hand extending gracefully over a half raised leg, while his left hand is pressing on the seat behind his left thigh, to effortlessly offer support whilst holding the stem of a lotus. Surmounting the elegantly modeled figure i a chignon with Amitabha in the center, and an antelope skin tied ro hi le ho l er

E m le o hi i hr m oke h r re i i c l or e i h he e l g rme e elr he re e ork i o e ce io e i l i hl ecor e ih i i ci e e i g i lor l mo i i gr ce l lime re e ce i he r her e h ce he rilli gree gl i l ork i ho i ol ge l r ll o he e i h he hem e gr e reci el he li ic ig re o r ce r erio chroe er o g Ko g ( ee 2)

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he o l -mo ele ce e i i e cr m hi r clo e com ri o o o ell-k o K g i ro e o mi hel i he l ce e m ei i g li he i go g o c g e he i i 60 g ch o i o o i g o g Ko g 2008 238-9 o 227-8 l o com re hi ig re i h K g i erio mi ol o he o g Ko g c o er 3 2018 lo 3626 ( ee 1)

he me e re r li m i e i e i he e re io o o h ce c i imil r re eri g o ere i e e i h he me re me o heir moo hl ro e chi ell- e i e o e ell reci e ro or io o h ork h e ro che le i ike he c rre ig re he o he mi h re e o h ir lli g o e ch ho l er eleg l he i i c i e h ir or me h re i e ic l re me The double lotus base has beads encircling the w ist, a typical form of he Kangxi style base that is seen in the famous gilt-bronze figure of the bodhisattva Avalokiteshvara Shadakshari commissioned by the Kangxi Emperor in 1686 on the occasion of his grandmother’s birthday, from the Qing court collection, preserved in the Palace Museum, Beijing, illustrated in Hong Kong, 2003, p. 237, cat. no. 226

此尊

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的

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2018年10月3日 拍 的 年 拍 3626號，( 1) 相 可以 ， 尊 面部細節高 相 ，下 ， 高 ， 體 ， 露 的內 。 尊 身 體 的 和 的 身。細 披 的髮束及 戴的珠鏈頭 ， 此尊 如 一 。 ，

此尊 一 之 此 珠鏈蓮 座 。此蓮 座以珠鏈束 的 見 見 的 藏的 銅 。 見 hi e o i e he om le e ollec io o re re o he l ce e m ， ，2003 年， 237， 226。

8

Vajrapani 手 Circa 17th century 世紀 Tibet 藏 Gilt Bronze with Polychrome 彩繪銅 6 1/2 in. (16.5 cm ) HAR no. 8040 藝術 源 80 0號 ro e rom

ce 來源： ri e or h meric

ollec io

人

藏

Vajrapani, the bearer of the thunderbolt, in wrathful form represented in a powerful cast stands in alidasana, the warrior pose, wearing a dhoti incised with tigerskin stripes flanked by a windswept sash and jewelry adorned around his bountiful midsection, centered with beaded festoons.

A thick snake is wrapped around the neck, The wild mane of hair is surmounting Vajrapani’s iconographic third eye. Detailed casting throughout, the face bears a fierce and detailed expression. 手

， 面 手持 ， 的 相 。 以勇 士 姿威立， 皮 ，披 下 部 于身後， 部 有珠鏈 ，一 地 于 上，表示 有 的威 。 紅髮 冠， ， 尊 藝 ， 。

Amitayus

Circa 16th century Tibet Gilt Bronze 9 in. (22. cm ) HAR item no. 8021

世紀

Provenance ： From a Private Polish collection 波蘭私人珍藏

Seated on a double lotus base in dhyanasana garbed in a billowing dhoti flowing between his crossed ankles, Amitayus is heavily adorned with jewelry and chakras inset with turquoise hardstones. is face displays a serene e pression with a gentle smile, elongated and downcast eyes flanked by lotiform earrings, and sharply arched brows surmounted by a foliate tara tiara, the hair in a high chignon and freely cascading down his shoulders.

The surface of this impressive figure is entirely covered in a rich firegilding. Such portrayals of Amitayus are characteristic of imagery from Tibet. e is associated with the rites that ensure long life, especially worshipped by Tibetans, who believe that life can be e tended through long lineages, faith and compassion.

It is also believed that one can achieve self-enlightenment and cater to the welfare of other with the help of Amitayus meditation.

Buddha Shakyamuni 世紀 Tibet 藏 Bronze 銅 7 2/3 in. (19.5 cm.)

8 2

藝術

源

8 2 號

ro e ce 來源： ri e i collec io 瑞士 人 藏

This elegant figure of he Buddha Shakyamuni is cast in the traditional posture of meditation. Seated in dhyanasana on a beaded double-lotus throne, his left hand is in dhyana mudra, while right hand displays he earth-touching mudra, bhumisparsa mudra, calling witness o he e r h to his enlightenment. The vajra placed on the throne identifies the seat as vajrasana, the sacred location under the hodi tree where Shakyamuni attained enlightenment.

He wears a close-fitting sanghati i ci e with beaded hem decorated with i ric e patterns, his robe drape naturally in linear folds around his lithe body. His expression is particularly serene, each detail of his face rendered with precision and care.

A copper plate marked with a double vajra on the e is evidence of this sculpture’s formal consecration i h he original seal. 此尊

結 印，右手結 地印， 世 示其 得開 的一 一 下的 座上 的 表明 其下蓮 座。 尊

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。

Vajradhara

Circa 1400 Tibet Gilt Bronze 9 in. (24 cm ) Provenance ďźš Private uropean collection Acquired in the 1950 s 1950

Seated in padmasana on a double-lotus base with his arms in vajrahumkara mudra (highest energy) holding the vajra and ghanta, clad in a dhoti and a shawl draped over his shoulders with jointed hems extending from his elbows and freely flowing symmetrically downward, ajradhara is adorned with a belt and necklaces of bead and pendant swags, anklets, bracelets, and leaf earrings. is steadfast expression is serene with an urna of inset turquoise atop his head, his hair pulled into a high chignon secured with a five-leaf tiara and surmounted by a half vajra, accompanied by a sealed base that is consecrated with a double vajra.

牚

Vajradhara

持 Circa 15th century 世紀 Ne a in Tibet 藏風格 Gilt Bronze with semi-precious stone 銅 5 1/8 in. (13 cm ) 80 9 藝術 源

80 9號

ro e ce 來源： ri e E ro e ollec io 人 藏 The figure is shown seated in dhyanasana on a double-lotus base, with his hands crossed before his chest hol i g r gh m oli i g he l im e i o i om com io e i cl i ho i or e i h e elr i h ir i lle i o high chi go o e i h h l r i ec re i e oli e cro i o orme e rri g l k e ch i e re e o h ir c c e o he ho l er he ro e i re omi l e re i i c i e e elr e i g i h r oi e i l he m ll i l re ell or io e i h re r i le i g he e e o er he o i ho i r c i g rom i ll ri g le e il er i l i r echoe i h he r oi e e i g rei orce he le or e e ole e e ce o r h r o

im l r chol r e W ri e hi ork o o m l e e he imil r re me o e il ho he loki e h r h r h oke h r ig e o m l e (lo 3033 ol o h m e ork rch 19 2018) o m l e ork h lo g ee l e he i cle o i e gil e c l re re re i m e m he e i cl e r h ir i he ie erg e m rich h m i he l ce e m ei i g ( hlig he h o E ligh e me rich 199 168-71 o 114 om le e ollec io o he re re o he l ce e m 60 o g Ko g 1998 192 o 183 re ec i el )

此尊 結

持結 仰覆蓮 座上， 手 印，左手持 ，右手持 ， 一的 高 。尊 頭戴 冠，束 高 ， ， ， ，下 。 高 ， ， ， 視， 內 。上 ，結 ， ，上身 露，下 ， 體， 。 身 戴 ， 藝 細， 滿 和 ， 。 體 ，細 節 彩， 人 。

以其 W 可 高

藝術 源 家e 之 。其 2018年3 月19日以120 一面 手 (拍 3033 。

， 其 見紐約 的

Maitreya

Circa 14th 15th century Tibet 藏 Gilt Bronze 銅 8 1/2 in. (21.6 cm ) HAR no. 36297 ro e ce ri e E ro e

世紀

藝術

源

29 號

ollec io

This exquisite and finely cast sculpture depicts Maitreya, the odhisattva of loving kindness and the Buddha of the future. He is seated in dhyanasana atop a double lotus base with his hands in abhayamudra and varadamudra, gently clasping the stems of two lotus blossoms which rise up around his shoulders, his right flower supporting a kundika. He is adorned in finely beaded jewelry and a thin dhoti with intricately incised borders billowing around his legs. His top knot is secured by a five-foliate crown and topped by a stupa. His slightly tilted head and sensitively modeled facial features give him a gentle welcoming demeanor. The present sculpture displays the superior quality and elegance of ino -Tibetan sculpture. 此尊面相 滿的尊 世 之 來 的 。 以 覆仰蓮 座上，左 手結 印，右手 結 印， 手 一蓮 ， 蓮 ，右 蓮 上 一 。 頭 戴 冠， ， ，下 ， 有 典 14 1 世紀 藏 部藝術 。 上身 露， 披 下， 部 開 身後， 身 ， ， 裝 上身 部 ， ， 立體 有 ，漢風 ，格外 。下身 體 ， ， 裝 。 尊 ， ，體 典 漢藏風格。

Vajrasattva

Circa th century Tibet, Pala style Bronze 3 1/2 in. (9 cm.) item no Provenance ： Cees van der Plog, 1995

Vajrasattva is frequently invoked in Vajrayana Buddhism for purification rituals, and is also treated as a yidam in Nyingma school. He is worshiped as the great purifier who helps practitioners to clear negative karmas and obstacles that obscure their Buddha nature.

This sweet figure of Vajrasattva shows him seated in vajraparyankasana, holding a vajra before his chest and a ghanta at his waist. Stylistically, this bronze echoes the high aesthetic accomplishments of the late Pala style, seen in the crown, necklace, armlets and anklets that are inspired by foliate imagery, fan-shaped crown ribbons, and a sweet face that is distinctly Tibetan. Compare with a brass figure of Manjushri sold at Bonhams, New York, 20 March 2018, lot 3210, and a Buddha in a private collection in von Schroeder, Indo i etan ron es, Hong Kong, 1981, p.423, no.109C.

018

特 0日

10 1981

4

109C

LG

Prajnaparamita 般

世紀

Tibet 藏 Gilt Bronze 銅 8 1/4 in. (21 cm ) HAR no. 8034 ro e ce 來源： ri e E ro e collec io

藝術

源 80 號 人

藏

Prajnaparamita means “ he Perfection of (Transcendent) Wisdom” in Mahayana Buddhism. Prajnaparamita refers to this perfected way of seeing the nature of reality, as well as to a particular body of sutras and to the personification of the concept in the Bodhisattva known as the “Great Mother.” The word Prajnaparamita combines the Sanskrit words prajna [wisdom] with paramita [perfection].

Seated in dhyanasana on a double lotus base, her principal hands in dharmachakramudra, and her upper hands in vitarkamudra, the left holding a manuscript and the right holding a beaded mala, earing an ankle-length dhoti secured at the waist with a beaded belt, adorned with various jewelry and a billowing scarf around her shouIders, her face with a serene expression and downcast eyes centered by a raised urna, topped by an elaborate five-leaf crown.

般 和 經

源的 滿 乘 教的 經 的 人

可如 一 ， 般 。般 般 ， 高的

。

此尊般 手 結 印，上 手 般 經 和 珠， 仰覆蓮 座上。 頭戴 冠， ， ， 身 戴 ， ， 。上身 露， 身後， 高 ，下 以珠 束 ， ， 之 的 。般 面 滿 ， 地體 般 經的 教 。

Padmapani 蓮

手

8th Century 8世紀 Swat Valley Bronze 銅 8 1/2 in. (20.8 cm.)

HAR no. 24324

藝術

2 2 號

源

ro e o he o o

ce 來源： o o 9 1977 lo 36 r rke c ire he re e ，1977年 月9日，拍 36 藏家1992年年 藝術

E hi i e 展 ： ilg me h ro 1979 48 日 e o o

g r l E hi i io

o

o o

iho

ller

hi

o em er 29 h - ecem er 1

展，1979年11月29-日 12月1 日。

g r l E hi i io ，

o e 1992

e

，

li he ： ilg me h ro o chroe er 日 e o o

er rom he

印

e

o o ller iho hi 1979 c o g Ko g 1981 90- 91 ig 9 展，1979年11月29-日 12月1日。 藏銅 ， ，1981年，90-91 ， 9

8 48.

48

Like the lotus, whose pristine blossom rises out of the mud, Padmapani has transcended the pain and impurities of the material world, reaching enlightenment in body, speech, and mind. The odhisattva forgoes entering nirvana until he has released all sentient beings from the cycle of death and rebirth. This rare eighth-century bronze figure of Padmapani, an emanation of Avalokiteshvara, displays the convergence of post-Gandharan and early Gupta aesthetic ideals that took place in the Kashmiri/Swat Valley region during the sixth to the eighth centuries. The Swat Valley is located along the upper stream of the Indus River in what was the ancient region of Gandhara. Serving as a link between India and Central Asia, the valley witnessed a constant flow of Buddhist pilgrims, becoming an important melting pot of cultures and an epicenter of Buddhist art production.

The present figure displays a muscular body and a dhoti with long looping pleats - typical traits of the Hellenistic features of Gandhara - while the flesh contours, clipped waist and large almond-shaped eyes suggest influences from the Gupta sculptural school. Compare the trifoliate crown, beaded necklace, facial features and corporal modeling with a Swat Valley bronze figure of Shakyamuni in the Metropolitan Museum of Art (1985.77). The present example is testament to a unique historical moment from which only a small number of bronzes survive.

Cover and illustration, U. Von Schroeder, , Hong Kong, 1981, p.91, fig. 9H. 如

蓮

一般，蓮 手 世 。此尊 8世紀左右的蓮 手 期 期 的藝術 地 。其 的地 其 一 教和 教藝術的 地。

，身 滿 銅 ， 表 世紀 風格。 地 印 ，見

之 有的後 印 一 此尊

上身 的身體

此尊 頭戴 198 77 。 ， 此

冠，

，下身 ， 戴珠 的 世

， 細的

和

和面部 ，此尊 印

， 的 可 以其 藏銅

明

， 示

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。 世紀 ， 上 的 高

有典

藝術 。

風格的

的

藏 和 ，1981年，

，

的 91，

9

一 和 一 來

， ，

典風格，

銅 其 。

得的

17

Yama Dharmaraja 地獄主

Circa 18th century, 18世紀 Sino-Tibet 漢藏風格 Bronze 銅 10 in. (25.4 cm.)

HAR item no. 8209 喜馬拉雅藝術資源網8209號 Provenance: 來源： From the collection of the Swedish artist and designer, Wilhelm Kåge (1889-1960) From the Collection of the Krook Family 瑞典藝術家Wilhelm Kåge (1889-1960)舊藏 Krook 家族舊藏

Striding in alidhasana on a buffalo over a prone human figure on a lotus base with his hands extended out to his sides, adorned with beaded jewelry, a garland of severed heads, the face ferocious with the mouth open and tongue extended, the flaming hair topped by a skull tiara, Yami sits astride his leg, offering Yama a skullcup in her left hand, wearing an animal skin on her back, her face with wrathful expression, a consecration chamber open on the verso of the primary figure, with traces of polychromy on the heads of both figures and the buffalo.

此尊地獄主以勇士之姿威立于 一頭雄壯水牛之上，水牛下踏 一仰臥異教徒，下乘覆蓮座。 地獄主右手高舉骷髏棒，左手 舒展結期克印，身披珠鏈及骷 髏鬘，水牛頭上面相恐怖，齜 牙外露，紅髮高束如火焰一 般，頭戴骷髏冠。地獄主的明 妃于其左腿上，左手持盛滿人 血人頭骨碗獻給地獄主，赤身 裸體，後背披一張鹿皮。明妃 抬頭仰視地獄主，表示她的順 從恭敬。地獄主背部開口，可 見其內部裝藏有經卷。主尊和 水牛細節部有彩繪。

Based on Pala period style bronze work, the deity on the present figure can be compared with an eighteenth century figure of Ekavira Bhairavajra, which displays similar modeling particularly of the head and jewelry (U. von Schroeder, Indo-Tibetan Bronzes, 1981, p.p.472-473, fig.130c). Compare the bull mount with a similarly rendered sow, see U. von Schroeder, uibid, p.p.488-489, fig. 138E.

此尊以帕拉風格為基礎的造像 可對比參照一尊18世紀大威德 金剛像（施羅德，印度西藏銅 像，1981，頁472-473，圖 130c）。牛頭造型可對比一尊 類似造像 （同上，頁 488-489，圖138E）。

8

Dakini Vajravarahi

Circa 12th century 2 世紀 Tibet, Pala Style 藏， 風格 Bronze alloy with semi-precious stone inlay and cold gold 銅嵌寶石 9 1/2 in. (24 cm.)

HAR item no. 8041 藝術 源 80 號 ro e ce 來源： ri e i collec io Koller rich 1986 o he e ork rch 19 h 2008 lo 301 瑞士 人 藏 世Koller拍 ，1986年 紐約 ，2008年3月19日，拍 號301

Blending elegance and power, the robust goddess centers her weight effortlessly on flexed toes, achieving an accomplished pose. The sow’s head identifies her as the consort of the great transformative deity Samvara. Holding the kartrika up in her right hand and a kapala in her left, a skull tiara, necklace of pendant jewels and a heavy garland of severed heads hung on twisted rope, a savage expression fixed on the painted face, hair painted orange and a sow’s head emerging, the figure i cast in a lustrous alloy with fine patina.

This powerful image of Vajravarahi embodies the intensity of eastern Indian tantrism that was the spiritual inspiration for many Tibetans from the eleventh century onwards. The dakini instructs her initiates with a commanding scowl sharp fangs emerging from the corners of her mouth.

Vajravarahi embodies both passion and compassion, and represents the essence of Wisdom, the female prajna. chilli g icho om er e he c l re i h re hl e ere h m he h gi g rom he ho l er hile recio e el h g rom her le er eck he ol o em le orm o i h he gel re g eel g e

he c l re c i lime llo i i e i h colo r l emi- recio o e i ire he ro e o l i o he ele e h el h ce rie rom here he c l o he ei her el origi e he i l o he o l go e i i e o reincarnate on earth, serving as the abbot o m i g mo er e r h om re he o re e il ch he e ere he go i e ro e i h el h ce r i ro e r k ee lrich o chroe er o g Ko g 2001 29 ig 98Eor gem- e l erio co er llo c l re c erie o ele e h or el h ce r h g ee i i 2 0-2 9 l 78-82 h

此尊左 地 右 姿，右 頭部 ， ， 乘 尊之一， 之明妃。

如 頭的 教

其 一面 ，頭戴 髏冠，身 如 ， 滿 ， 面相 ， ，開 露牙。右手高舉 ， 左手持 ， 身戴 及骷 髏 。 主尊 ，面部 ， 水 ，頭髮 ， 鏈及 有 ， 體 ， 。

Avalokiteshvara

Circa 18th century, Qing Dynasty 8世紀， China Bronze 銅 6 in. (17 cm.)

HAR no. 8022 藝術 源 8022號 ro e rom

ce 來源： ri e meric

ollec io

人 藏

Cast seated in dhyanasana on a double lotus base, the right hand lowered in varadamudra, the left hand raised to chest, wearing an elaborate beaded necklace, the ei ce i e i h downcast eyes and meditative expression framed by a high five-point crown.

Avalokiteshvara has long been regarded as the patron deity of Tibet, and has been revered in China from the late Ming dynasty through the Qing. Qing court patronage of Buddhism commenced under the Kangxi Emperor and reached epic proportions under his

grandson, the Qianlong Emperor.

The Buddhist centers of Beijing, Rehol, and Dolonnor produced a vast number of images to keep up with the demand of temples both inside and outside of the capital.

The present work exhibits many characteristics common to such i h the languid and slightly effeminate treatment of the face and body, and the tightly waisted double-lotus base with broad petals. This sculpture has a pacifying beauty er e a very fine example amongst the great number of similar Buddhist bronzes proliferated during the Qianlong period.

Green Tara

00 世紀 Khasa Malla Gilt Bronze 銅 7 in. (17.8 cm.)

HAR o. 8036 ro e ce 來源： ri e i ollec io c ire rom oel oo er 瑞士 人 藏 oel oo er

藝術

源

he

ci ic

80 號

i

ho

e

ork

hi e o l mo ele ree r r re or i com i io o ire gil i g il er i l ech i e i e remel re i e ro e ri e o he lo Kh ll Ki g om o We er i e We er e l Seated in lalitasana on a double-lotus base, her right hand extends in Varada mudra, and her left hand holds up near her heart i e chi g mudra Her hair is pulled into a high chignon, secured with five leaf crown, flanked by two large o rl tendrils cascade down the shoulders.

Lotuses are blooming at her shoulders and e ig o mi h e r o o o her chig o he re i i g h o he lo mil o hich he elo g er elo g e e rlo e re eighe o l rge hoo e rri g i h ri o o o he i re e i igh i i g ho i i ci e i h er i or e i h ro o rio or me i he orm o e i g ome o hich re ecor e i h il er i l Kh ll le ollo r i io l e ri cr m hi e he ic e ic e here i h he lo h irli e ro orehe he rec g l r r or i g he re ce he ili e o e m c l r o ill he le i i g i he i el rom rer e le e ork E em l r o he Kh ll r i io he ck o he c l re ei l i i e i h re igme he o le -lo e r cro he ro i e he c el e i e k ckle o her le ri g i ger righ h m ell he ri o - orm

1 e ele e rri g re ch i iom e i g he Kh ll le r i io he rice gr i er o her ho i re o e ee o Kh ll c l re (c e oo i ger i e r o r e i i io o le o o 1997 79 o 9) or ll i c io o Kh ll c l re ee lo i rie io o g Ko g e 1994 he romi e eo il er i l i he ro o e i g i e remel r re or hi erio o Kh ll ro e ell i e ro e hi ce ech i e o o l ho he cre i i o he cr m m er l e er i e more im or l i em o ie he highe le el o ir o i o he ro e c er gi e he r ri i ic l o he il er-i l ech i e om re i h he co er lo o m i oke h r ol o h m o g Ko g c o er 2 2018 lo 43 o h h re gre imil ri ie i e il ( ee 1) l o com re i ee h ce r mi li he i o chroe er o g Ko g 1981 3 7 l 94 此尊 ， 身以 見的 珠鏈裝 ，以其 的 藝 的上乘之 。尊 ，右腿 蓮， 手 持 印和 印。 左腿 束髮高 ，戴 冠， 結 上，髮 。 ， 有 。 披 ， 蓮 ， 其從 蓮 部 下身 體， ，上身 戴 鏈 珠鏈 ，其 一 珠鏈， 見。 高 高 座

， 有典 和

， 滿。

， 節

， ，

上

。蓮 ，蓮 覆 面及 ，背面 紅 。 外， 上的 經 見 e oo i ger i e r o r e i i io o le 1997年 79 9 。 珠鏈 ， 期 有 藏 見。 的 術 的 和 高的手 藝， 的 ， 的 恭敬。 細節可 2018年10月2日 面 43號 ， 可 印 藏銅 ， ，1981年，3 7 ， 94c。

Padmapani

Circa 12th century, Pala Period Northeast India Bronze with silver and copper inlay 3 7/8 in. (10 cm.)

HAR item no. 8032 Provenance ： From a private uropean collection Seated in rajalilasana on a lotus base with his right arm elegantly resting on his raised right leg while the left holds a lotus stem, clad in a dhoti richly inlaid with silver and copper medallions, adorned with silver- and copper-inlaid jewelry and a sacred thread, his face with a benevolent expression with silver

inlaid eyes and urna, his hair styled in a high chignon topped by a knot, centered with a stupa and secured by a tiara The Pala dynasty, which flourished from the 8th-12th century in northeastern India, was one of the last strongholds of Buddhism, as the country became increasingly Hindu by the 11th century. As Buddhism continued to flourish under the Pala rulers, there was a surge in travel among Buddhist practitioners and laypeople to sacred sites associated with Buddha Shakyamuni. With this came the expanded propagation of Buddhist texts and religious icons, which were easily transported by pilgrims. Bronze sculpture which were especially portable, played a crucial role in the propagation of Buddhist iconography throughout the region. As a result, Pala bronze work achieved an e ceptional level of sophistication and, to this day, is revered as one of the golden eras of the Indian sculptural tradition.

This sublime figure of Padmapani the Bodhisattva of compassion, is emblematic of the artistic mastery of Pala period bronze work. Rendered with jewel-like sensitivity, the god sits languidly atop a throne of lush lotus petals. The body is modeled with e ceptional naturalism and sensuality. From the fleshy toes, to the slightly bulging belly and e aggerated curve of the torso and shoulders, every detail is rendered with a

softness rarely captured in metal.

The abundance of shimmering silver and copper inlay suggest this sculpture was an object of particularly special veneration.

Compare with another Pala period bronze image of Maitreya in the British Museum, London (U. von Schroeder, Indo i etan ron es 1981, p.282-283. cat no.69D).

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Buddha Muchalinda Circa 13th century Thailand Sandstone 37 in. (94 cm.)

世紀

ro e ce 來源： i k o o o E gl 6 131 11 o 2 i k o ， 6 131 11 o 2 li herrier ollec io o o orme e ee he e rl 1940 1972 li herrier 藏，1940年 - 1972 年 hri ie e ork rch 23 2010 o 276 紐約佳士得，2010年3月23日，拍 276 ri e meric ollec io 人 藏 The Buddha Muchalinda represents a moment in the Buddha’s enlightenment. Deep in meditation, he was not aware of rising lake waters, sent by a demon to drown him. The Naga serpent king raised the Buddha on his coils and wrapped his body beneath him during meditation, fanning out his hood with seven cobra heads to protect him from the storm.

This sensitively carved figure of the Buddha is seated in padmasana with his hands in dhyanamudra, the face with a slight smile and an expression of compassionate serenity. The coiled body of the serpent beneath him is finely incised overall with an imbricated pattern, its seven-headed hood rising up behind the Buddha, His feet as well as the back of the serpent are marked with symbols of the wheel of law.

Compare to an in situ example of a stone sculpture of Buddha Muchalinda, in M. Freeman and R. Warner, Angkor, T , 1990, ill. p. 128.

“Thus I heard: at one time the Gracious One was dwelling near Uruvelā, on the bank of the river Nerañjarā, at the root of the Mucalinda (tree), in the first (period) after attaining Awakening.

Then at that time the Gracious One was sitting in one cross-legged posture for seven days experiencing the happiness of freedom. Then

at that time a great cloud arose out of season, (bringing) seven days of rainy weather, cold winds, and overcast days.

Then the Nāga King Mucalinda, after leaving his domicile, and surrounding the Gracious One’s body seven times with his coils, stood with his great hood stretched out above his head, (thinking): “May the Gracious One not be cold, may the Gracious One not be hot, may the Gracious One not be affected by gadflies, mosquitoes, wind, the heat (of the sun), and serpents.”

Then with the passing of those seven days, the Gracious One arose from that concentration. Then the Nāga King Mucalinda, having understood that the sky was now clear without a cloud, having r ele his coils from the Gracious One’s body, and after withdrawing his own form, and creating the appearance of a young brāhmana, stood in front of the Gracious One, revering the Gracious One with raised hands.

Then the Gracious One, having understood the significance of it, on that occasion uttered this exalted utterance: “There is happiness and detachment for the one who is satisfied, Who has heard the Dhamma, and who sees, There is happiness for he who is free from illwill in the world, Who is restrained towards breathing beings.

The state of dispassion in the world is happiness, the complete transcending of sense desires, (But) for he who has removed the conceit ‘I am’ - this is indeed the highest happiness.”

-Udana, Exalted Uterrances: Mucalindavaggo

Indra Circa 13th century 世紀 Nepal Wood with polychrome 彩繪 33 x 16 in. (84 x 40.5 cm.)

C14 tested to 1180 +/- 130 years, sample # GX-32881 HAR o. 8026 藝術 源 802 號 ro e er r

ce 來源： re collec io c ire i 人 藏， 1980年

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In Vedic times, Indra was the supreme ruler of the gods. He was the leader of the Devas, the god of war, the god of thunder and storms, the greatest of all warriors, the strongest of all beings. He was the defender of gods and mankind against the forces of evil. He had early aspects of a sun-god, riding in a golden chariot across the heavens, but he is more often known as the god of thunder, wielding the celestial weapon Vajra, V the lightning bolt.

He also employs the bow,, a net, and a hook in battle.

He shows aspects of being a creator god, having set order to the cosmos, and since he was the one who brought water to earth, he was er ili go ell e l o h he o er o re i e l i rrior ho h lle i le

Indra is described as being very powerful, with a reddish complexion, and with either two or four very long arms. His parents were the sky god i he e r h go e ri hi i he or ll gro ll rme rom hi mo her i e

More hymns in the Rig Veda (about 250) are dedicated to him than any other god by a sizable amount. He was known as a great drinker of Soma; sometimes he did this to draw strength, and when he did he grew to gigantic proportions to battle his enemies, but more often he merely wanted to get r k r ro e Whe o i hi ch rio o he gre hi e ele h ir ho l ic orio ho h o r k hich re em le a cre mo i e was given numerous titles including kr ( o er l ) r ( h erer ) r r ( e ro er o i ie ) egh h ( i er o he lo ) rg i ( he or o e e )

56 Divinities, Pancaraksa Devi mandala

Lhachog Sengge (1468-1535) ( 8 年) Tibet, Ngor monastery 藏， Distemper on cloth, original cloth mount and original red lacquered dowel Portrait approx. 16 x 13 1/4 in. (41 x 33.8 cm.)

Full dimensions without pole 25.5 x 15 3/4 in. (64.5 x 40 cm.), related mantras o ver , (Hr) 80 9 藝術 源 80 9 號 ro e ce 來源： ie e e ri e collec io 人藏家， 有

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Shakyamuni

Circa 18th century 8 世紀 Tibet 藏 Ground mineral pigments and gold on cloth 24 x 15 in. (61 x 38 cm ) 80 藝術 源 80 號 ro e ce 來源： ollec io o l e oh W l e (192 -2013) 192 年 2013年 舊藏 Seated in dhyanasana on a lotus base, his right hand is in bhumisparasamudra, left hand holdi g an alms bowl, dressed in multicolored patchwork robes, the face with serene expression backed by a nimbus and aureole, all surmounting Shadakshari and Vajrasattva below.

Born in the Shakya race through skillful means and compassion; destroying the army of Mara who was unable to be destroyed by others; with a body radiant like a mountain of gold. Homage to you, King of Shakya; (Sakya liturgical verse)(HAR).

Shakyamuni Buddha is the founder of the Buddhist religion. He lived and taught in India in the sixth century B.C.E., a time of burgeoning religious and philosophical thought from Greece to China. Born as the crown prince of the great Shakya Kingdom, the young Siddhartha Gautama was groomed to be a king in accordance with the wishes of his royal father. However, when he was about 29 years old, he learned of the deep suffering experienced in life by people.

He left his palace life, gave up his fine garments and jewelry in order to find the causes of this suffering and the means to overcome it. After about six years of study, self-deprivation, and deep meditation he finally realized his goal. He had become an enlightened one (a Buddha). After this, he is said to have walked to a deer park in Sarnath (Benares) on the outskirts of Varanasi in India. Here he gave his first sermon, an event which is called the turning of the wheel of Buddhist law (Dharmachakra). The wheel as a metaphor for Buddha’s teaching will become a prevalent symbol in Buddhism.

主尊

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The Elder Arhat Kanakavatsa

尊 Circa 18th century 8 世紀 Tibet 藏 Ground mineral pigments on cloth 繪 36 1/4 x 24 in. (92 x 61 cm.)

HAR no. 36292 藝術 源 ro e ce 來源： Koller rich e 1978 lo 46 1978年6月 世Koller拍

拍

尊

292號

，拍

The seventh of the sixteen great Arhats i adorned in a red and orange patchwork robe heightened with gold leaf details. Seen seated on a lush green landscape, surrounded by trees, rocks, and a muttering stream: features characteristically Chinese in style, a syncretic attribute derived from the intimate relationship between China and Tibet created by the conversion of Kublai Khan, the Mongol ruler of China, to Tibetan Buddhism. The haloed and mature saint ho eyes opened wide gazing intently as he holds a jeweled lasso in his hands ccording to the legends the jewels serve to give wisdom and understanding of Buddhist doctrine and were a gift of the Nagas. In the richly colored sky sit the sun and moon. In , June 1984, pg. 137, plate 4 Dr. Pratapaditya Pal references an early Arhat thangka, possibly of Kanakavatsa, with heavy Chinese influences. In this thangka an attendant figure is positioned offering a bowl to the Arhat. Dr. Pal explains that this iconography can also be seen in an eleventh century description of an Arhat series by k o o g m er i hich K k i or hi e he Ki g o K hmir ho i o he righ -h i e he rh m ke m r e ore him lo er o l i l ce r le l i h he k eeli g ig re i hi h gk ( ) e ri g he rich ig re ilk o eri g he

之

號46

l i l li lo er m e he r ri ki g o K hmir ho i i oh e i i e K k One might postulate that the attendant figure in this thangka may also be the “barbarian king of Kashmir” offering a stylized e el i hom ge rh re he i o hi m ollo er o he h ho h e i e ree om rom ig or ce eri g he chool o hi m he rh co i ere o e he hi i e l i l er h hi m hi role ke o er he o hi rh rem i e im or i i e hi m ro ec or o he oc ri e r er ere i o hem he ere cre i e i hm mir cle ri i h e m

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8 Chakrasamvara and Consort

Circa 17th century 世紀 Tibet 藏 Mineral pigments with gold on cloth 34 x 25 in. (86 x 64 cm.)

82 藝術 源

ro e ce 來源： rom he e ollec io c ire i 法國 e 收藏，購於19 0年間

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Chakrasamvara, which translates as wheel of bliss, is one of the most popular yidam, or meditational deitie , in Tantric Buddhism after the 11th century. As the principal deities of the Anuttarayoga Tantra of the Vajrayana Buddhist Tradition, Chakrasamvara can appear in several dozen different forms, from simple to complex, peaceful to wrathful. Here Chakrasamvara and his consort Vajravarahi are both ho with a wrathful appearance, standing on Red Kalaratri and Black Bhairava, symbolizing the triumph over ego and ignorance.

Chakrasamvara, who is blue in color, has four heads and 12 hands, in which he holds an elephant skin behind his back, a staff, a skullcup, a golden lasso, Brahma’s four heads, a trident, a flaying knife, an axe, a drum, a vajra and a bell at center. Both Chakrasamvara and his consort Vajravarahi wear a skull crown, a garland of freshly severed heads are surrounded by the blazing flames of pristine awareness.

A register of deities are at the top of the image. From left to right he are identified as Vajrayogini,

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White Tara

Circa 18th century 8 世紀 Tibet 藏 Ground Mineral pigments on cloth 繪 Image: 15 3/4 x 10 1/8 in. (40 x 25.5 cm ) HAR no. 8046 藝術 源 80 號 ro e ce 來源： ri e E ro e ollec io 人 藏

Seated on a lotus platform, her left thumb and forefinger holding the stem of an utpala to the heart with the petals blossoming at the ear, the right bestowing charity held across the knee. In this white form of the deity she appears specifically for he purpose of

bestowing longevity - long life and health. Revered in all schools of Tibetan Buddhism it can probably be said that Tara is second in popularity only to Avalokiteshvara.

Her practices are found in all classes of tantric literature of both the old Nyingma traditions and the new Sarma schools from India. “...with a hue white like an autumn moon - radiant like a stainless crystal jewel, shining with rays of light, one face, two hands, and having three eyes; with the conduct of having sixteen years of age. The right hand is in the mudra of supreme generosity; the left holds with the thumb and forefinger the stem of a white utpala to the heart with the petals blossoming at the ear. Representing the buddhas of the three times the single stem is divided into three, in the middle is a blossoming flower, the right in fruition, the left in the form of a bud; adorned with various jewel ornaments; having various silk upper garments and a lower garment of red silk; seated with the legs in vajra posture. The palms of the hands and feet each have an eye - the seven eyes of pristine awareness.” (Sachen Ngagwang Kunga Lodro, 1729-1783).

Hayagriva

主

Circa 18th century 8世紀 Tibet 藏 Ground mineral pigments on cloth Image: 29 1/4 x 20 in. (75 x 51 cm ) 80 藝術 源 ro e rom

ce 來源： ri e li 人 藏

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e o her i e i ie e m le re hel or o her e m le o hi r re i ee he i e r r e m hi h o om il io i i oh i collec io ( im l r e o rce hi r i hree om i e Wr h l e) r

Circa th centur and an or Chola nast South India ron e in cm hi h Art oss search no S Scientific Anal sis report no A ďźš

88

The Sensuous

and the Sacred

Art of the Imperial Cholas

Uma-Maheshvara

Circa 11th century Kashmir or Himachal Pradesh Copper alloy w ilver inlay 6 8 (16.2 cm ) HAR no. 8038 ro e rr

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A rare form of Uma-Maheshvara Shiva is seated in a yogic posture on a lotus, his principal hands holding a waterpot with leaves. His upper right hand grasps a rosary and the left supports Uma, who is gracefully seated on his thigh. Uma too holds a waterpot with her right hand, and in her left a lotus. This rare image is Kumbhesvara, lord of the waterpot.

This bronze is one of the e k o im ge o m - he h r from either K hmir or im ch l r e h According o Shaiva i h

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philosophy, Shiva’s infinite power remains concealed until he is in the company of his consort Uma (Sa Uma). In her presence he reveals his benevolence and through her his grace is comprehended. Images of Shiva together with Uma are known as Umasahitamurti and with the addition of their infant Skanda the image becomes Somaskandamurti.

Since Shiva was believed to confer his blessings upon devotees most readily in this form it was imperative for every temple to have a Somaskandamurti and this iconographic representation was extremely popular. An early iconographic representation of this form of Shiva is a charming stone relief of circa 7th century date, from the Pallava period, now in he collection of the National Museum, New Delhi (S. Kramrisch, Philadelphia, 1981, cat. 55, p. 67). In this tender family portrait we see the divine couple seated in a relaxed posture o li h

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with the infant Skanda on his mother Uma’s lap. The iconography was conventionalized in bronze images such as the magnificent 8th century sculpture in the collection of the Government Museum, Madras (K. Khandalavala (ed.), , New Delhi 1988, fig. 4, p.14 ) here hi m re e e o iere li h or h r ee m rom r i ic ico ogr hic oi hi rre i g c l re em o ie he e e i l li ie o hi m heir io i m ol o com le e e i like or i me i g ( Kr mri ch hil el hi 1981 iii) hi e i e o er l che eem o e i l e i h re h i ce i h i romi e e re r i e c lm i i i i mi m che e rri g m oli e he i cor or io o o h m le em le e ergie i o i gle o he he c l re r i e o o l hi e l o hi m e re g h he imm le m i cie ei g ho ge er e he e er l c cle o cre io e r c io m li he le orm i em o ime o e er ec io hile her ge l mili g ce em e iri l e he ic o er o i r e ligh l i r o ce her lor hi ceme i g heir io i i g hem oge her i e erl i g im ge o o er m e e e ole ce r ce e ce

Circa 12th century Rajasthan or Uttar Paradesh Sandstone 23 in. (58.3 cm )

of Nandi

ro e ce ri e collec io c ire i 1990 hri ie e ork e em er 21 200 lo 63 Sacred white bull and vehicle of Shiva, Nandi serves as guardian, gatekeeper, and mount to the mighty destroyer god. Nandi has been identified as Shiva’s vehicle, or vahana, as early as the Kushan period in the first century CE and has been a subject of exaltation throughout India, Vietnam, Cambodia, and Indonesia. Some claim that reverence for bovines in the Hindu religion stemmed from the status given to Nandi as Shiva’s vahana, especially in Uttar Pradesh. Sculptural forms of the bull frequently appear outside of temples dedicated to Shiva and are positioned to face the sanctuary where the main representation of Shiva would be located to demonstrate his reverence of the god. In the present figure, the worshippers positioned in front of Nandi were likely included to represent additional devotion, as they would be facing the most highly regarded space in the temple complex.

Nandi sculptures are so prolific at these sites of worship that it is rare for a Shaivite temple to be missing an image of the bull.

In the Ramayana, it was Nandi who cursed Ravana, king of Lanka and the Ramayana’s main antagonist who kidnapped Rama’s consort Sita. As gatekeeper, Nandi refused Ravana’s request to meet with Shiva. Ravana taunted and teased Nandi in an attempt to get his way, but this only irritated the bull, causing him to curse the demon king, foretelling that Lanka would be burned to the ground by a monkey. This later came to fruition when Hanuman rescued Sita and destroyed Ravana’s kingdom. Nandi’s importance in Shiva’s wyrd originates from early Indian culture, where dairy farming was the most significant occupation, giving the cow great status. Vahanas represent the overriding and neutralizing power of gods over creation and ability to control and transform energies within the universe.

Each vahana is specific to their deity: Garuda serves Vishnu as the sun god, Ekahamsa (One Swan) serves Brahma as the creator god who initiated creation through water, and Nandi serves Shiva as a symbol of fertility. Since Shiva was worshipped with great fervor in South India where the majority of his temples exist, it is clear why most Nandi sculptures originate from the south. While there are figures of Nandi that hail from the North, they are less common, giving the present figure an added level of dynamism. or imil r h i e m le o i ee c l re rom he collec io o r r lE heim ol hri ie e ork 16 e em er 2008 lo 42

Saraswati

Circa 1200, inscribed Rajasthan, India Stone Stele 17 3/4 in. (44.86 cm.)

ArtLoss no. S00132165 Provenance From a private Georgia state

The goddess is sensuously carved, dancing in the foreground rendered with an elegant tribhanga, the veena in her left hand, in her others a mala, rosary, and a sutra, wearing beaded necklaces and a tiara. At her feet her vehicle, the peacock, looks up along with a companion.

Saraswati, the one with the lovely voice, is the goddess of music, literature, poetry and wisdom. She is a part of the trinity along with Lakshmi and Parvati, a counterpart to the Trimurti known as the Tridevi.

All the three forms help the trinity of Brahma, ishnu and Shiva to create, maintain and regenerate the universe respectively through their Shakti.

Saraswati is the holy consort of Brahma, complimenting his role as creator through her cultural attributions.

Initially a indu deity, her image was eventually absorbed into Buddhism and became prevalent throughout Buddhist Asia as the epitome of female wisdom and the consort to the Bodhisattva Manjushri.

Kalpavriksha, The Wish- Fulfilling Tree Circa 15th century Western India Brass 28 in. (71 cm )

Provenance: Ex Collection Jay C Leff [1925-2000], acquired by 1960 Near & Far Eastern Art, Property of Jay C Leff and Another Collector, Parke-Bernet Galleries, 980 Madison Ave, New York, 9-10 May, 1969, Lot 140 o he e ork 26 rch 1998 o 66 li he Exhibited: , American Federation of Arts, October 1965- October 1967, No. 64 By: John F. Haskins , Los Angeles County Museum of Art, November 6, 1994 – January 22, 1995, cat. No. 64 By: Dr. Pratapaditya Pal , Art Gallery of New South Wales, June 12 – August 24, 1997, cat.

No. 81 By: Dr. Jim Messelos, Jackie Menzies and Dr. Pratapaditya Pal Published: e e o ei r r ol ge 8 r rh ehe i August 2005, Page 10 “This unusual throne-back is fashioned in the form of a large tree surrounded by a framework containing eleven seated female figures. Close inspection of the tree reveals bunches of three mangoes at the juncture of each limb with the outer frame; this indicates that the now missing main image was originally the goddess Ambika [6o - 63], identified by the mango fruits she holds or by

the mango tree under which she is frequently depicted. The female figures in the outer frame are all musicians, except for two attendants bearing flywhisks at the level where the head and shoulders of the main image would have been. The two figures directly above the flywhisk bearers hold hand cymbals, and the remaining figures can also be identi identified as musicians, since their hands are in positions typically used to hold musical instruments; these must have been separately cast and have not survived. The juxtaposition of Ambika with a retinue of female musicians and attendants follows an earlier W Western Indian tradition, as there are several reliefs at Mount Abu that portray the goddess with such company (Shah 1987A, fig.

154; Tiwari 1989,56- 57. figs. 1617). It is possible that the female figures are meant to be devata (subsidiary goddesses), but the position of their hands argues against this since they would have typically held religious attributes in different positions (Shah 1987A, fig.

148; Tiwari 1989, 83, fig. 36).

Originally there must have been an additional figure at the base of the frame on each side.

These were either musicians, attendants, or perhaps Ambika’s two sons, Siddha and Buddha.

A foliate finial presumably once surmounted the frame. Not only is this a representation of Ambika’s mango tree, but it is also the well-known celestial wish-fulfilling tree (Kalpavriksha). The wish fulfilling tree is associated with Ambika in a number of Jain texts, such as the late twelfth century Nemichandra’s Lilavati Prabandham (Shah and Dhaky, 38). The Jains believe that there are ten types of wish-fulfilling trees, which ‘always give to the people whatever they desire without effort on their part’ (Shah 1955. 75). The rewards of worship include wine, dishes of delicacies, fine apparel, musical instruments, lamps, wreaths, ornaments, houses, and divine luminosity.” -Dr. Pratapaditya Pal,

Shiva Nataraja

Circa 16th century South India Bronze 6 1/2 x 6 x 2 in. (16.5 x 15.3 x 5 cm.) ro e ce ri e elgi

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As a symbol, Shiva Nataraja is a brilliant invention. It combines in a single image Shiva’s roles as creator, preserver, and destroyer of the universe and conveys the Indian conception of the never-ending cycle of time. Although it appeared in sculpture as early as the fifth century, its present, world-famous form evolved under the rule of the Cholas.

hi ce i e i hi flaming halo. The god holds in his upper right hand the damaru (hand drum that made the first sounds of creation). His upper left hand holds agni (the fire that will destroy the universe). With his lower right hand, he makes abhayamudra (the gesture that allays fear).

he dwarflike figure being trampled by his right foot represents apasmara purusha (illusion, which leads mankind astray, the dwarf of ignorance).

Shiva’s front left hand, pointing to his raised left foot, signifies refuge for the troubled soul. The energy of his dance makes his hair fly to the sides. The symbols im l h through belief in hi hi e o ee can chie e l io

Vishnu

Circa 1300, late Chola Period South India Bronze 23 1/4 in. (59.4 cm.) ro e o he

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The four-armed deity stands erect in samapada on a circular lotus base supported by a multi-tiered square plinth. His principal right hand is in the fear dispelling abhayamudra.

The preserver is adorned in a tall jeweled crown, several necklaces and foliate armbands. His broad shoulders are accentuated by a tapered waist and soft bulging belly His elongated torso supported by muscular legs covered in a finely incised patterned veshti, which is elegantly knotted on both sides and secured by a wide girdle with a kirtimukha at the center. Meant to be viewed in the round, the back of the sculpture is no less masterful than the front. His muscular back and pronounced buttocks project three-dimensional power. His teardrop shaped face is accentuated by arching eyebrows, almondshaped eyes, a straight aquiline nose, and gently smiling lips. The sensuous

modeling coupled with the confident and assured treatment of form suggests a mature or lateChola date for the sculpture.

8 Illustration to the Bhagavata Purana: The Liberation of Nalakuvara and Manigriva Attributed to Circa 1760-1765 Basohli, India Image: 9

Manaku

heightened with gold on paper 13 1/2 (35 x 23.5 cm.)

ro e ce he ollec io o he l e re rr ( 16 h e em er 2011) i mi h ( 26 h rch 2014) cri e i r m khi e 3 o o o er o cri e i kri 10 h h er 10 h ook le 32 i ce er o er o h g 10 h ch er 10 h ook k o o om o er o

The narrative that this painting illustrates comes from the 10th book of the Bhagavata Purana, with Krishna’ss habit for mischief contributing itself to the scene. After being caught repeatedly trying to steal butter by his foster mother Yasodha, she tied him to a wooden mortar to keep him from trouble.

Many years prior to this, two yakshas Nalakuvara and Manigriva, sons of Kubera, were cursed for their pride to be bound in the form of two arjuna trees.

Through his omniscience, Krishna is aware that the arjuna trees contain the souls of these yakshas, so he carries the mortar on his back and wedges it between the trees, using his great strength to uproot them, the two brothers emerging from the fallen timber. These figures are shown crowned in the center of the painting, offering praise to Krishna to express their gratitude.

The Bhagavata Purana that this work hails from dates to 1760 - 1765, and is commonly known as the “Large GulerBasohli Bhagavata Purana,” or the “Fifth Guler-Basohli Bhagavata Purana.” This series is known for its use of broad landscape with few figures, exemplary of a transitional Basohli style, and each painting in the series has an identifying inscription on the reverse in gurmukhi and nagari scripts. The leafs have since been dispersed throughout the world, some of which can now be found in the Victoria and Albert Museum, the Philadelphia Museum of Art, and the Archer Collection (see W.G. Archer, , London, 1973; Visions of Courtly India, London and New York, 1976, no. 8, p. 15; and W.G. Archer and Edwin Binney 3rd, , Portland 1968, nos. 55a and 55b, pp.74-5 for other paintings).

Although debated, this painting was likely executed by Manaku, older brother of Nainsukh, even if he was not responsible for completing the entire series. Manaku has been named as the illustrating artist for a Gita Govinda series completed in the 1730s, as well as the Small Guler Bhagavata Purana completed between 1740 and 1750.

Similarities between works in both of these earlier series to the 1760’s Bhagavata Purana indicate that Manaku had a part in completing multiple pieces from the later series.

Compare the yakshas in the present work to “The Sage Kardama Renounces the World,” from the Small Guler Bhagavata Purana in the collection of the Lahore Museum (see B. N. Goswamy, , New Delhi, 2017, p.

405, no. B35); the same rendering of facial hair and ornate jewelry nod toward the claim that Manaku was the author of both. In addition, realistic detail is ascribed to the trees across Manaku’s known oeuvre, re replicated in the arjuna trees shown here. Some scholars argue that this later Bhagavata Purana was illustrated by Fattu, son of Manaku, but it is likely that he only completed some of the works in the series. One last thing to note is that these series are typically completed in chronological order, following the progression of the text, meaning that the present example would have been executed earlier than others within the series, making it more plausible that the hand of Manaku was responsible for this painting.

39

Leaf from a Gita Govinda series: Radha vents her frustrations First generation after Nainsukh and Manaku Circa 1775- 780 Kangra, India heightened with gold on paper 7 x 10 5/8 in. (17 x 27 cm ) ro e ce r coi e l

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The eye is first moved to a landscape showing the forest in spring time.

Radha is garbed in a semitransparent skirt comprised of mute colors, brief bodice and bare midriff while sitting

beside a bank of the Yamuna surrounded by a grove of trees, gazing over her shoulder to the right as her confidante in a violet skirt and orange wrap draws her attention to the topic of Krishna.

Radha’s dress is elegant albeit simple, the upper portion a choli and a ghaghra skirt around her waist cascading into gentle folds.

A transparent orhani is draped around her body. Paramount attention to detail can be seen in the diaphanous materials depicted on her outfit as well has her intricate jewelry, copious but not gaudy she is adorned with gold, emeralds, and pearls, as well as a nose ring. The ground is lush, boasting multiple shades of greenery.

The vakula and tamala trees stand proud and lush, their leaves dark and odorous.

The setting is established with meticulous care, great love is placed

into every brushstroke. The small rises of the terrain, undulating ground all give a feeling of vast space and openness, but in such a way that attention is not drawn to wander from the foreground in which Radha and her companion are engaged in discussion. Both the face of Radha and her attendant can be surmised to have been derived from a particular type, the shading of Radha done distinctly more elegantly, demonstrating an intentional status remark. Her face is of “porcelain delicacy ” rounded but in such a matter as to not be “fleshy”. Her features are pronounced and sharp, her lips small (an attractive quality of the time), eyebrows gently arched, eyes gazing softl yet discerningly. “Radha’s body is young and lissome; the limbs tender, the breasts full, hands and feet delicate.” (Goswamy & Fischer, pg 315). Her stance is relaxed and natural, directly mirroring her countenance and echoing her state of mind.

Reference: Goswamy, B.N. and Fischer, E erh r , Niyogi Books, 2009

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heroic o h mo or r i o r o rom he r li g hore cl o r r e ic e e remel gero l rge iger - ro l commemor i g hi oric h i g i ci e

l ho gh he me o o r o lem i o i cri e i m e o e h he i o e ic e i h ro l im (h lo) - erh i ic i g he r k o h k r co ec re o e o i ili m e m r i gh hore o g r (1613-1644) i e li e here i h l rge o e l o e e ro h e er-chi mo or hi heroi m i h ir emerge i ri gle he ck o he eck ell rom he i e r he i e o he e r i r e m che i erh hi mo i i g i hi g ch r c eri ic - i re em le he le o m che ore h r kh i gh o o h r ( 1820-73) ri g ho e reig hi or r i m h e ee ro ce - ro l ro i ci l hik ( ie om) i he or i o r rerh g r

Mahabharata

Circa late 18th - early 19th century Kangra, India Pen and ink on paper, numerous inscriptions in nagari script 11 1/3 x 12 1/2 in. (29 x 32 cm.) ro e

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Illustration to the Mahabharata: The Pandava and Kaurava rmies ace ach ther n ombat Attributed to Purkhu Circa 1810 Kangra heightened with gold on paper Image: 11 1/4 x 15 3/4 in. (28.6 x 40 cm.)

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gro o he K r ec e he ere erocio i le h more ol ier heir i o l l ho gh he i o o h rm hi gr cle r co e e h he h o ee hi hm o i he r K o i g h hi hm o l re e o h rm om r oi e hikh i ho h ee om i li e o he 10 h o le hi ch rio eer hikh i r ck hi hm i h olle o rro hile r oo o he ch rio ehi iri g he e k oi i hi hm rmor il he i he lli g o o he rro ro r i g rom hi o o h he i o o ch he gro he re e im ge e ic o e o he ir 10 o le hi hm i ill ee le i g he rm Kri h i e ic e r ch rio eer he r co cl e o he 18 h he r o h re li e h he ere goi g o e e he K r rm le ki g re ge i l ke here he h e o he kille him re e ge e o he rem i i g K r rrior m cre he c m killi g ll o he ol ier he o o he ro her l 12 m or rrior r i e he e o he r rom o h i e o o o er hree millio i h er o l lo e e re e ch rem i i g rrior hi ir cro e ki g o K r er e rege or 36 e r il he reli i he hi o er o r gr o rik hi or o her ork rom hi erie ee cco l iccol 1982 ig 91 i Kh l l ig 8 eh collec io hme Kh l l ri e h ge rom hi erie i he io l e m e elhi i e 1803 i he o er me e m h ig rh l o re erre o i e ller i l 2013 ( 181)

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An Illustration To A Mahabharata Series: Vidura confers with Dhritharashtra

Attributed to Purkhu Circa 1820 Kangra, India Opaque heightened with gold on paper 18 1/2 x 13 1/4 in. (47 x 34 cm.) ro e ce ri e E ro e

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This leaf from the Mahabharata is a depiction of the scene in which the blind king of Hastinapur, Dhristarashtra, confers with Vidura, the most respected adviser of the Pandavas.

The rival Kauravas and the Pandavas have gathered with weapons at the ready.

To the left are Bhima, Yudhishthira, Drona, Arjuna, as well as the twins Nakula and Sahadeva.

To the right stands Duryodhana and Ashwatthama. Clad in shimmering gold armor to the far left, gifted by his father the sun god Surya, stands Karna. To the upper right sits Gandhari, mother of the Kauravas, blind folded to share her husband’s debility. On the opposite corner is Kunti, mother of the Pandavas.

“In many narrative paintings ascribed to Purkhu and his workshop, diagonals are employed freely in the composition and

architecture is a dominant characteristic. Several balconies and terraces, walls and connecting courtyards appear, peopled with multiple figures. Although unable to convey spatial depth in the scene, these elements of design are considered essential for the narrative and for the establishment of atmosphere (Goswamy and Fischer, 1992, pg. 371).” or o her ill r io o hi ce e e ec e he chool o rkh ee lo 66 ol hri ie o o 2 2017

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Illustration to the Bhagavata Purana: Krishna Battles the Horse Demon Keshi Circa 1850 Kangra, India

heightened with gold on paper Image: 8 10 in. (20.9 2 cm.)

Folio: 0 11 1/2 in. (2 29.2 cm.) ro e ce ri e e ork ollec io c ire i he 1990 ollec io o he r e o ee le

This powerfully rendered painting depicts a brilliant orange horizon cast over Vrindavan, setting the stage for the epic battle unfolding in the foreground, as Krishna and his brother Balarama battle the horse demon, Keshi. The blue skinned saviour i crowned, adorned with jewelry and a flower garland, as his brilliant yellow dhoti flows with movement while delivering his penultimate blow.

Balarama, rendered in white with a deep blue tunic stands ready to assist his younger brother in combat. Paramount detail and skill of hand are present in this work through the artists use of negative space to instill a mood of turmoil as well as their ability to capture movement in the heat of battle.

The mane of Keshi’s hair ripples and eyes flutter as he bares the impact and recoils from a stalled Krishna’’’s face a serene Krishnas charge, Krishna’s calm. A blue foliate border surrounds the illustration.

Thereafter, the demon Keshi assumed the form of a giant horse and entered Vrindavana. Running at the speed of thought, tearing up the earth with his hooves. The hair on his mane scattered the clouds in the sky and shook the demigods in their own domicile. His whinnying like drums of thunder terrifying all those around. Keshi was looking for a fight, and so Krishna came and stood before him, challengingly.

The horse demon responded by roaring like a lion and rushing at Krishna in great anger, his mouth open as if to swallow the sky. Keshi was hoping to trample Krishna. The blue skinned saviour dodged Keshi’s attack and then, after deftly moving around the demon, He angrily seized him by the legs, whirled him around in the air, and contemptuously threw him the distance of one hundred bow-

lengths, just as Garuda might throw a snake. When he regained consciousness, Keshi angrily got up, opened his mouth wide and once again rushed at Krishna. Krishna simply smiled, however, and thrust his left fist into the horse’s mouth as easily as one might make a snake enter a hole in the ground. Keshi felt Krishna’s arm to be as hot as molten iron and his teeth immediately fell out. Krishna then expanded His arm within Keshi’s body. The demon’s mouth slackened and so Krishna effortlessly removed his fist.

Then, without the slightest tinge of pride at having effortlessly killed his enemy, Krishna accepted the worship of the demigods in the form of flowers raining from sky. sky y. the sky.

Attributed to Manaku Circa 1730 Guler, India

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An illustration to the ‘third’ Rasamanjari of Bhanu Dutta: The intoxicated courtesan Attributed to Devidasa Circa 1695 Basohli, India Opaque watercolor, gold, silver, and beetle wing cases on paper Irregular: 8 1/4 x 11 1/2 in. (21 x 29.2 cm ) ro e ce ori Wie er e ork e ore 1981 o h m e ork 11 e 2012 lo 83 ri e ollec io

“The maiden is seen seated in a relaxed and open pose supported by a silver platform against a red bolster, secured at the arms by attendants who offer her more wine. To the left foreground a seated maiden offers wine to another

who raises her hand in refusal.

The gathering is set against a green wall decorated with vase-filled niches and surrounded by white faceted turrets, a yellow awning and flowering shrubs.

The illustrated text of the Rasamanjari is centered upon the popular theme of the hero and heroine (nayaka–nayik ) and expounds upon the many aspects of love (longing, separation, rejection, etc). The compositions are noted for their contrasting fields of solid color, lyrical figures applied lustrous green beetle wings and the jewel-like raised dots of shell-lime.

As noted by Archer in The Loves of Krishna in Indian Painting and Poetry, London, 1960, p. 106 “The text in question is a treatise on poetics illustrating how romantic situations should best be treated in Sanskrit poetry—the conduct of mature mistresses, experienced lovers, sly go-betweens, clowns or jokers being all subjected to analysis.” This piece shows a mature heroine (nayika) so distressed by the absence of her lover that she spends her days intoxicated to numb the pain, drowning her longing. Sensitive to the pangs, her consumption is excessive i co r with the accompanying maiden who practices moderation, raising her hand to refuse another glass. Archer goes on further to state (ibid , 105) “This series of illustrations is in some ways a turning point in Indian painting for not only was it to serve as a model and inspiration to later artists but its production brings to a close the most creative phase in Basohli art ” Four other pages from the same series are in the Lahore Museum (see FS Aijazuddin, , London, 1977, nos. 3(i-iv). Also see W. G. Archer,

Delhi, 1973, nos. 15(i-v).”

A leaf from the Shahnameh Circa 1600, Akbar Period Imperial Mughal Court, India

Image: 12 1/4 x 9 in. (31.1 x 23 cm ) Folio: 17 x 14 in. (45 x 35 cm )

on paper with gold leaf border

ro e ce E e o heor ore lle ei rich (1910-1981) ro e or ei rich r hi ori c r or e c or rom 19 o 1962 he he irec or o he o l e m er r he gh r hi or he i er i o k che ork i er i

This painting, drawing from the ancient Shahnameh text, represents the conclusion of a tale of forbidden love between the Iranian warrior Bizhan and the princess Manizha, daughter of the Turanian king Afrasiyab. Crossing the border to see the fair maidens of Turan encamped at a spring festival, Bizhan encountered Manizha, and the two were so powerfully attracted to each other

that they trysted in her tent for three days. When Afrasiyab learned of the affair, he arrested Bizhan and imprisoned him in a dark pit covered by a heavy stone, with only the dishonored Manizha to keep him alive.

Eventually, Bizhan was saved by the Iranian hero Rustam, who was the only one strong enough to remo e the o e rom he mo h o he pit.

The painting shows the moment of rescue. m dressed in hi iger- ki coat, has cast away the stone and with a rope pulls the chained Bizhan up from the left depths. On the le stands Manizha. stand Encircling the main scene, a crowd of miri g ol ier i e he re c e mi io

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The Shahnameh, or Book of Kings, is arguably the greatest Persian epic in existence, started by the poet Hakīm Abul-Qāsim Firdawsī Tūsī in 977 CE and completed just over 30 years later. The text is divided into 62 stories that cover Iran’s origins through mythology, heroism, and history. Copies of the Shahnameh were frequently commissioned by Iranian rulers, with the celebrated text accompanied by rich illustration.

Illustrated manuscripts from the Shahnameh first appeared in India during the 15th century with the Delhi Sultanate, although some scholars assert that the epic made it to the subcontinent as early as the 14th century. The Shahnameh was especially popular with earlier Mughal emperors; the present example was executed under the third ruler Akbar er hom he Mughal painting style was developed.

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A Drunken Prince Led To Bed

Circa 18th century Lucknow, North India heightened with gold on paper Image 9 5 8 x 7 1 2 in. (24.5 x 19 cm.)

Folio 13 x 11 1 4 in. (33 x 28.5 cm.) ro e ce hri ie o

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A drunken prince is led to his bedchamber by female attendants and musicians as dawn is heralded by the cockerel and the grey half-light of the new day. Lucknow was given the reputation of being highly elaborate, from their poetry to their culture, indulging in excess and embracing decadence. The present painting illustrates this zeal, showing a finely dressed prince who has reveled into the early morning hours and consequently become intoxicated. Terrace scenes incorporating musicians such as ho e ic re here were popular in Awadh [the region where Lucknow is located], a composition technique adopted from the nearby Mughals.

The Nawabs of Awadh were originally appointed in the 18th century as governors of the rich agricultural province by the Mughal empire, but gained independence as their power faltered.

In the latter part of the century, many Mughal artists, poets, and nobility fled to Awadh in search of stability amidst uncertain times for the Mughal empire.

This socio-political climate, along with a growing European presence, prompted the development of Awadhi substyle. Artists took an Awadh inspiration from European styles, inspirat paying attention to spatial depth and figural volum volume, hoping to escape the Mughal standards of painting in search of their own. One characteristic and widespread feature applied across Awadh paintings is the aerial perspective, exemplified in the current work by giving the impression that the viewer is slightly above the figures’ eye level.

The Awadhi region saw itself as a cultural successor to the Mughal dynasty when they showed signs of decline in the 18th century, providing a pool of patrons for artists to work for who commissioned pieces like the painting illustrated here. With gracefully patterned, gold illuminated margins, this work demonstrates the skill and precision possessed by the artists of Awadh before they conformed to the popular Company style in the 19th century.

Leaf from the Madhavanala Kamakandla Circa 0 Mughal, India

12 1/4 x 7 1/4 in. (31 x 18.5 cm.) ro e ce hri ie o

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4 c o er 2012 o 177

The Madhavanala Kamakandla story is of a Brahmin boy name Madhavanala in the service of King Govindachandra of Pushpavati. A handsome, musically and artistically gifted young man, Madhavanala was envied by the King’s courtiers and they persuaded the King to banish him. Through a series of events Madhavanala is again banished, but not before falling in love with Kamakandla.

After being separated for some time Madhavanala learns that Kamakandla has passed, and upon hearing the news he himself dies of grief. As it turns out Kamakandla is in fact still alive and upon hearing of her paramours demise she oo instantly dies of grief. or rem rk l imil r ork ee he i i g i he o l ollec io r ( 100 068 e) h i ri e o he r i i h l (173 -177 )

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Blind Man’s Buff / Hide and Seek

First generation after Manaku Circa 1775-1780 Kangra, India Opaque watercolor heightened with gold on paper 10 x 8 in. (25.4 x 20.3 cm.) ro e ce ori Wie er e em er 21

1973

The eye is first drawn to a young seated Krishna, the crowned deity with a mauve complexion adorned in a yellow dhoti. His eyes are shielded by a playful Gopa, the mid-section of the piece “a friezelike interplay of figures ” In the foreground a group of seated cows are arranged in a delicate manner evoking a mood of evening pleasure along with a background of lush flowering foliage, typical of the period.

Bahadur explains in his footnotes on page 335-336 that coramihicani or “blind mans buff ” is a game in which six or seven players take part. One of them, the thief ” has their

eyes covered while the others hide.

The thief then runs in search of the others. Those who have hidden try and return to the khutavam, the place where the thief ’s eyes were shielded. If the thief can touch a player before he reaches the khutavam that person becomes the next thief. The subject is a deep allegory, as “everything is illusory: the natural world is subsidiary to Krishna’s game; and to the moral lesson it teaches.”

Leaf from The Devi Mahatmya: Durga In A Battle Against Circa 1820-1840 Jaipur, India

heightened with gold on paper 8 x 12 in. (20.3 x 30.5 cm.) ro e ce h r ller 14 er g r c ire rom he o e i 1978 E hi i e comi g ollege

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An Illustrat

Devi Mahatmya

Circa 1765 Guler, India Opaque watercolor with gold on paper 6 3/4 x 10 1/2 in. (17.1 x 26.7 cm.) ro e ce he E e o mi i re h ici

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For the next two consecutive folios from the same series see: Leach, L.Y. 1986 Cleveland, Cat 116, pps.

286-87. Pal, P. Y P 25-26, New York 1983, Cat. P. ps. 299-300. Also: Doris Wiener Gallery New York 1974 Cat. 31

Illustration to the Circa 1810 Guler, India

heightened with gold on paper 8 1/4 x 12 in. (20.9 x 30.5 cm.) ro e ce hri ie o

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10 c o er 1989 lo 70

“Then Chanda and Munda, two servants of Shumbha and Nishumbha happened to see that Ambika (Kausiki) looking extremely beautiful. They reported to Shumbha: O great king there is an exceedingly beautiful woman whose queenly beauty is illuminating the Himalaya. No-one has ever seen such sublime loveliness anywhere. Find out who that goddess is and take possession of Her, O Lord of Asuras. She is a gem among women, with exquisitely beautiful limbs which illuminate the four directions with their lustre. There she stands, O King of Demons.

You deserve to see Her. Lord! Whatever precious stones, jewels, elephants, horses and so on are in the three worlds, all now decorate your house, O King! You have obtained the precious elephant Airavat , also the fabulous tree Parijata, as well as the wonderful horse Ucchaishrava, which was Indra’s. Here in the courtyard stands the gem-studded chariot drawn by swans, brought here from Brahma the Progenitor. Here is the treasure Mahapadma from Kubera and the unfading lotus garland Kinjalkini, the gift from the ocean. Varuna’s umbrella, which showers gold, now stands in your house with the superb chariot that once belonged to Prajapati.

Lord! You have snatched Utkrantida, the missile of Yama by which he gives exit to all creatures.

Your brother now possesses the noose of the Ocean King.

Nishumbha also has all the gems from the Ocean while you have the two fireproof garments from Agni.

O Demon king, as all these gems have been given you why not also seize this jewel among women?

The Rishi said: After listening to all this from Chanda and Munda, Shumbha sent out the mighty demon Sugriva as his messenger to the Devi. He said: Go and convey my invitation to Her in a gentle way so that She will be affectionate toward me. Going over to the lovely mountain seat of the Goddess, the messenger spoke in a sweet, soothing tone, saying: O Devi, I am the messenger of Shumbha, Lord of the Demons and Sovereign of the three worlds. He has vanquished all his foes among Asuras and even the Gods were unable to resist him. He sent me here to Your presence. Listen to what he says, his message is this: “All the three worlds are mine. Even the Gods obey me. I eat all the offerings which once were theirs.

All the finest jewels of the three worlds are now mine. Even Indra’s elephant, Airavata, I now have.

With salutations the Gods have even offered me the glorious horses called Ucchaihsravas which arose at the churning of the milk ocean.

O magnificent lady! All the other objects which belonged to the Gods or Gandhavas or Nagas, all are now in my possession. We regard You, O Devi, as the jewel among womankind. Therefore, come to us, we who are the connoisseurs of gems. Come to me or to my powerful younger brother Nishumbha, O Lady of the quick side-glances, Y You are indeed a sparkling jewel. By marrying me You will gain incomparable wealth.

Y Think of the advantage and become my wife.

The Rishi said: When this was said, the adorable Goddess Durga who sustains and protects the universe, smiled thoughtfully and said:

What you say is true, no doubt.

Shumbha is indeed sovereign of the three worlds together with Nishumbha.

But how may I nullify My former vow?

Please listen to this vow I once made in ignorance: I once declared I would only marry one who could be My equal in strength, one who could defeat Me in battle and remove My pride, only he could be my husband.

So let Shumbha come here, or Nishumbha the great Asura, let him vanquish me without delay and gently take my hand in marriage.

The messenger said: O Devi! This is arrogance!

Do not talk this way to me! Name a single god

from the three worlds who is capable of standing against Shumbha and Nishumbha!

In fact all the Gods were unable to face even the other Asuras in battle. So how could You, a single woman do this on your own? If Indra and all the other Godheads united could not defeat Shumbha, how will You, a woman, dare to face him?

It would be better that You heed my message and go to Shumbha and Nishumbha yourself. Otherwise you will suffer the humiliation of being dragged there by the hair.

The Devi said: It is true. Shumbha is strong.

Nishumbha is very heroic. But what can o ig or ce m em o o go ck o he r or ell him oli el h h e i he he m o h e er he le e

Circa 1825 Mandi, India

heightened with gold on paper Image: 7 7/8 x 10 3/4 in. (20 x 27.3 cm.)

Folio: 10 1/8 x 13 in. (25.7 x 33 cm.) ro e ri

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The Goddess Kali

Attributed to Sajnu Circa 1810 Mandi, North India Opaque watercolor heightened with gold on paper 12 1/2 x 9 1/2 in. (31.8 x 24.2 cm.) ro e ri e

ce i collec io

The goddess depicted in a classical stance after her killing spree, the third eye surmounts her tongue struck out in between protruding fangs, clad in a belt of e ere hands and a necklace of ec i e heads as jagged hair runs down her shoulders. The manifestation of destruction and barrenness is seen brandishing a curved sword (kharga), holding a decapitated head, with a foot over Shiva’s body.

Jackals and vultures surround the scene smelling death in the bloodsaturated air. The illustration is centered in an octagonal medallion, the spandrels embellished with gold scrolling foliate tendrils, in black borders with scrollwork, wide pink margins containing further depictions of her emanations, cusped cartouches above and below with a vulture and a rat.

Also known as “Mahakali ” which literally translates to “The Great Kali ” she is revered as the goddess of both time and death. Mahakali represents Shakti, the power of pure creation in the universe, and Shiva represents pure consciousness which is inert in and of itself. While this is an advanced concept in monistic Shaktism, it also agrees i h he o l rik o

K hmir popularly known as Kashmir Shaivism and associated most famously with Abhinavagupta.

There is a colloquial saying that “Shiva without Shakti is Shava” which means that without the power of action (Shakti) that is Mahakali (represented as the short “i” in Devanagari) Shiva (or consciousness itself) is inactive; Shava means corpse in Sanskrit and the play on words is that all Sanskrit consonants are assumed to be followed by a short letter “a” unless otherwise noted. The short letter “i” represents the female power or Shakti that activates Creation. This is often the explanation for why she is standing on Shiva, who is her husband in Shaktism, and also the supreme godhead in Shaivism. Another understanding is that the wild destructive Mahakali can only stop her fury in the presence of Shiva the God of Consciousness, so that the balance of life is not completely overrun by wild nature. The distinctive elaborate margins of this work with cusped cartouches containing attendants of Kali and associated animals are similar to those found on a painting of Raja ri e o i or hi i g hi ri e o he r i

(W.G. Archer, Indian Paintings from the Punjab Hills, London, 1973, fig. 46, p. 275).

About Sajnu: “Painting at Mandi, a relatively large kingdom in the Punjab Hills, did not really get underway until the middle of the eighteenth century. It reached an apogee of creativity during the reign of Raja Isvari Sen, who was under the cultural sway of painting made Kangra and Guler, the two kingdoms which supplied a number of Isvari Sen’s favorite artists. His leading court painter was Sajnu, originally from Kangra or Guler.

Sajnu, like Nainsukh and the Basohli Master of the Early Rasamanjari before him, did much to transform the style of painting everywhere in the Punjab Hills. Early nineteenth century Pahari painting was greatly influenced.”

- McInerney, Terence; Kossak, Steven; and Haidar, Navina.

New York: The Metropolitan Museum of Art, 2016 p. 238. Print.

8

Illustration to a Harivamsa series: Narada warns Kamsa Purkhu Circa 1800 1820 Kangra, India heightened with gold on paper Image: 16 7/8 x 12 1/2 in. (47.5 x 37 cm ) Folio: 18 1/2 x 14 1/4 in. (47 x 36.2 cm ) ro e ce c ire

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The Harivamsa (an account of the Dynasty of Hari [Vishnu]) is a work of three chapters appended to the great epic, the Mahabharata. The first chapter contains an account of the creations and the genealogy of the Yadavas, the family of Krishna and Vasudeva descended from their Aryan ancestor, Yadu. The second chapter describes the life of Krishna and his affairs with the gopis, where many of the stories are similar to those in the Bhagavata Purana. The last chapter deals with prophecies of the present age (Kali Yuga) and other matters unconnected with the title of the work.

In Hindu mythology Narada is revered for both his sage advice and his notorious mischievous ways, creating some of vedic literatures most humorous tales. He is known as a master of the Veena, and is frequently depicted with one (as in this particular scene). This painting illustrates the following excerpt from the Bhagavata Purana: “...The great saint Narada descended from the heavenly planets to the forest of Mathura and sent his messenger to Kamsa. When the messenger approached Kamsa and informed him of Narada’s arrival, Kamsa, the leader of the asuras, was very happy and immediately came out of his palace to receive Narada, who was as bright as the sun, as powerful as fire, and free from all tinges of sinful activities. Kamsa accepted Narada as his guest, offered him respectful obeisances and gave him a golden seat,

ri g he 1940 -19 0 brilliant like the sun. Narada was a friend of the King of heaven, and thus he told Kamsa, the son of Ugrasena, “My dear hero, you have satisfied me with a proper reception, and therefore I shall tell you something secret and confidential. While I was coming here from Nandakanana through the Caitraratha forest, I saw a great meeting of the demigods, who followed me to Sumeru Parvata. We traveled through many holy places, and

finally we saw the holy Ganges.

While Lord Brahma was consulting the other demigods at the top of Sumeru Hill, I was also present with my stringed instrument, the vina. I shall tell you confidentially that the meeting was held just to plan to kill the asuras, headed by you. You have a younger sister named Devaki, and it is a fact that her eighth son will kill you.” (reference: Hari-vamsa, Visnu-parva 1.2-16) ” Purkhu is one of the master artists of early Kangra Painting. Active from 1780 – 1820, under the patronage of Maharaja Sansar Chand, he is respected for his brilliant execution of emotionally evocative processional scenes. “Purkhu saw individuals essentially as falling into types. There is no insensitivity to appearances,

and he was quick to establish distinctions between one person and another… therefore Purkhu was best in rendering large groups: court scenes, processions, statefestivals, private celebrations, and the like. He was able to invest these scenes with the specific character of each occasion (Beach, 2011) In this particular painting our eye is immediately drawn to the foreground, where a courtly meeting surrounded by lush topiary is being held. A chowry-bearer fans chowr Kamsa (inscribed above crown) as the king watches Narada (inscribed in red), the most travelled sage, fly away on the upper right, veena in surroundi g of hand. The lush surround the court scene re reminiscent of Purkhu’s most famous work for the Gita Govinda series often referred to as the Lambagraon Gita Govinda.

Literature: Archer, W.G.,

, London, Parke-Bernet, 1973, I: 294- 295 Beach, M.C. et al, 2011, pgs. 728 - 732

, Zurich,

Goswamy, B.N and Fischer, Eberhard, , Zurich, 1992, pgs. 367- 387

Leaf from the Bhagavata Purana Depicting Vishnu and Garuda: Circa 18th century Bundi

heightened with gold on paper 7 5/8 x 11 1/8 in. (19.4 x 28.3 cm.) ro e ce ollec io o he r e o ee le ri e e ork ollec io c ire i he 1990

Amidst a rippling current, Vishnu rescues the king of elephants Gajendra from a crocodile makara.

Gajendra had gone to bathe in a lotus filled lake when the makara caught the elephant, dragging him down into the water. The elephant struggled against the crocodile with all of his strength, but with each attempt at escape the crocodile’s grip tightened. In a final effort to thwart his demise, Gajendra cried out for Vishnu to save him, grabbing a lotus in his trunk to offer to the god. Vishnu heard the elephant’s pleas and appeared

alongside Garuda, vanquishing the makara crocodile demon and granting moksha to Gajendra for putting his faith in Vishnu as savior.

In the first quarter of the 18th century, Krishna became the prime subject of painting over court scenes and portraits of rulers.

Towards the later part of the century, stylistic elements from the Mughal court were likely adopted through the settlement of artists from Delhi or Lucknow in Bundi,

or through the implementation of Mughal aesthetics by Bundi artists.

Regardless of the motivation, Bundi painting transformed during the 1700s from a heavily Rajput style to one that paid respect to the Mughal archetype while still maintaining its unique flair. The present image is representative of an earlier work, celebrating the divinity and power of Vishnu through the Gajendra Moksha narrative. The scene is meant to convey feelings of surrender and trust, essential components in the devotee’s relationship with god.

An Illustration To The Hamir Hath: Hamir Consults With His Advisors While His Archers Hold The Fort Attributed to Sajnu Circa 1810 Mandi, North India heightened with gold on paper olio number 16, bearing the royal Mandi library stamp Image: 12 5/8 x 17 3/4 in. (32 x 35 cm.)

Folio: 14 5/8 x 19 7/8 in. (37 x 50.5 cm.) ro e ce ri e erm o he e o he e

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The Chauhan ruler Hamir speaking to his minister Jaja and his daughter Devala while Mahi ma consults with other courtiers within the walls of the Ranthambore fort, Hamir’s archers battle with Alauddin Khilji’s horsemen, Alauddin is depicted seated in a tented encampment with his men and European soldiers in brimmed top hats above, the names of figures inscribed devanagari script. in white and red The Rajasthani ballad, Hamir Hath (Pride of

Hamir) composed by the bard Sarangdhar, relates the story of Raja Hamir Dev, the heroic but arrogant Chauhan ruler of Ranthambore, who battled with Alauddin Khilji, the Sultan of Delhi. This painting is closely related to a set of twenty-one illustrations to a Hamir Hath series, which were painted by Sajnu in 1810 as a present for Raja lsvari Sen of Mandi. Sajnu presented these to the left Kangra Mandi ruler after having le and his former patron Sansar Chand.

The tale of Hamir is strikingly similar to that of Sansar Chand, the despotic ruler of Kangra. It involves the siege of an obdurate ruler in a vast fortress surrounded by dizzy precipices, quite like the Kangra fort. with a disastrous end.

Stylistic characteristics in the painting which are reminiscent of Sajnu include the zigzag geometrical composition,

the ‘jigsaw-puzzle’ rocks, the floral motifs of the carpets, and the juxtaposition of the bright colours of the dresses, carpets and tent panels against the pastel colours employed for the architecture and the rocks.

The composition of hi painting is also strikingly similar to ‘Hamir and the dancing girl’ from the presentation series mentioned above.

For comparable illustrations and further discussion on the series, see Archer 1973, Vol. I, pp. 360-362, Vol. II, fig. 42(i).(ii), pg. 273. For another folio from this series which sold at auction, see Christie’s New York, 23 September 2004, lot 167.

For more examples from this series and for further discussion see Shastri, October 1915, vol. 17, no. 132, and Khandalavala, 1958, no. 185 & 186, pp. 230 and 232. Also compare with Sotheby’s, London, March 27, 1973, lot 155 and Sotheby’s, London, April 25, 1974, lot 11

Women in a

unting odge

Circa 19th century Kotah, India 22 ro e ce hri ie o

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Six women stand on the inside of a Shikaragah (hunting tower), surrounded by lush, vibrant vegetation and an array of different animals. One woman holds a gun on the ground floor, aiming at the ox that has apparently just been overtaken by a pair of lions, two embracing ladies on the terrace viewing the attack in suspense.

Hunting scenes were hugely venerated in Kotah painting through commissions from the Maharaos, a subject of great royal interest as the hunt was perceived to e nobility. Kotah was so ell a sport for nobility known for its forests that were bursting with lions and tigers that initiated to a hunt was frequently init entertain visiting dignitaries like Mughal princes or British officers. he e r li g ce e o e el c e h c mo l ge he cre re o i g he im ge ere employed by court painter heikh ho orke e e i el hro gho he 18 h ce r er ro l ro ge he im ger r her e elo e er heikh ime i h he im or io o e ri r i o er e he eli e i cor or io ech i e rom heir home i o he i i c Ko h le h re re e e he 19 h ce r he re e e m le e ec e i he 19 h ce r em o ie hi e ol e le hro gh ill r io o mero rie ie o ege io i el cr e ir h e r cro he com o i io

Typically, hunting scenes would be depicted with one or more men, who were occasionally accompanied by a maiden. While hunting scenes were popular with Kotah rulers, it is unusual to see such an image with only female hunters, devoid of their male counterpart.

Compare this piece to an earlier painting in the National Museum, New Delhi, titled Ladies Hunting Tigers (accession no. 47.110/1919) that depicts a woman with her rifle trained on a Tiger from a hunting tower, a female musician and male hunter positioned behind her. In this work, the woman is shown at the forefront as huntress, and while the man is not engaging his weapon and stands out of her way, there is still a male presence overseeing the two women. The current painting depicts only women, making it an important representation of female status and capability that existed at the time. For further reading on Kotah school painting, see Stuart Cary Welch, , 1997.

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Rama and Sita Enthroned Circa 1830 Guler, India

heightened with gold on paper Image: 9 x 6 3/4 in. (23 x 17.2 cm.)

Folio: 9 7/8 x 7 3/4 in. (25.1 x 19.6 cm.) ro e ce ri e E ro e

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This scene illustrates the Ramayana’s joyful culmination with Rama; the seventh incarnation of Vishnu, and Sita, upon a golden throne (gadi), supported by tiger-shaped legs within a pavilion. Before the auspicious couple Hanuman he mo ke chie ho h i e m i killi g he emo ki g reco eri g i stands with a book opened in his hands

The divine couple i enthroned on a deep red Mughal-style carpet with floral motif surmounted by a parasol bedecked in jewels and made of gold.

Above, tufts of fabric panel re raised and tied in between concisely modeled arches.

A host of onlookers and attendants watch from both behind and the foreground. Amongst the crowd Lakshmana is pictured bearing a fly whisk (chauri) i h Jambavan; the king of the bear army. Exceptional detail is given to the blooming tree stemming from behind Jambavan, with a creeping vine gracefully winding its way up the knots and texture of the trunk, leading the eye to the lush green leaves with flowers hanging ripe with density giving host to frolicking birds.

For an illustration of this subject see The San Diego Museum of Art, Accession no. 1990.1283

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E ro e me o gre le re i chi g ch here ere er e E ro e ome i i he ime i re re hi g o e i he com o ch i e l ie he re e i i g or r h Kri h e hro e o lo o er i g ch i h com o e ehi hem hi ork e ec e ri g ime he ch i e ih i er r or e i l o l e eeme i com le e i ho ch er orm ce ch girl ( cer ho er orm ch) ere co i ere o e ome o e high ocie o e i g ick i re i e m er i e h k o le ge o oe r me or e ri i h r i ri er e cri e ch girl i hi 1813 rie l emoir e remel elic e i heir er o o reg l r i heir e re i h orm o er ec mme r l ho gh e ic e rom i c o heir ro e io he i ge er l re er e ece c mo e i heir eme or hich i more likel o ll re h he h mele e ro er o imil r ch r c er i o her co rie or ce r E ro e E ro e ocie E e

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Circa 1800 heightened with gold on paper 6 3/4 x 4 1/3 in. (17 x 11 cm.) ro e rom cri e

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INDIAN PAINTING Love Lorn Lady

Circa 1850 Kangra, India

heightened with gold on paper 8 9 3/4 in. (29 24.8 cm )

ro e ce ri e E ro e

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The Kangra school is well known for its mastery of Indian miniature painting as one of the most prominent artistic centers in Pahari, and it is the paintings of women in longing, virahini nayikas, that are the most sensitively rendered. Vipralambha Shringara, or “love in absence,� addresses this sensual sentiment of separation through four different conventions. The first is Purvanuraga, which characterizes the beginning of a relationship and occurs when the lovers are deprived of the sight of each other’s bodies and suffer pain in longing.

The second is Mana, pain in separation caused by a cooling or unfaithful relationship; thirdly is Pravasa, the

affection for separated lovers in different locations. Finally, Karuna is the manifestation of grief or sorrow due to separation from death. The present example falls under Pravasa, as the lover has traveled elsewhere and in his absence, the nayika suffers the pain of separation. She is shown clinging to a banana tree for support, her legs too weak and resolve too faint to support herself. Surrounded by a garden of blooming flowers and manicured vegetation, her gown flows elegantly as she lifts one foot out of a sandal. A similar painting is illustrated in M.S. Randhawa, , fig. 57, wherein a Nayika clutches a banana tree for support, but instead stands on a terrace and smokes a hookah pipe.

There are numerous depictions of lovelorn ladies that assume different compositions. Lonely women pulling on the branch of a tree, surrounded by one or more animals, looking absently at an oncoming storm, smoking hookah on a terrace surrounded by sakhis, or i g hem el e o cool he e er o lo e h lic hem re ll e m le o ir hi i (lo e ick) ik

An llustration to a Rasikapriya series: Radha seated in a pavilion visited by a female companion dressed as a boy Circa 1820 Kangra, India 11 x 7

heightened with gold on paper 2 in. (28 x 19 cm.)

Provenance: Collection of the late Pearl King (1918-2015) cquired from Maggs Bros or Sothebys London i the 1960’s

An actress (Nati) addresses Radha thus: ‘Hearing from you about Krishna, my desire to see him was kindled in me.

He embraced me so closely that even now there is pain round

my neck. My experience with him last night was exactly the same, as you had related to me.’

-Translation of the text on verso, six lines in nagari script in black and red ink In a painted pieces with and vegetal

oval, corner stylized floral motifs in silver on a skyblue ground with rosettes in orange, yellow inner border with nagari inscription in upper border, pink outer border.

Fourteen paintings from this series are in the Victoria and Albert museum, London; see Archer, W.G., London, 1973, Kangra, no.66 (i)-(vi).

The distinct ovaloid format along with yellow margins and floral surroundings are, according to Archer, based on the Lambagraon Baramasa series, dating them to circa 1820.

Recto (top) translation: nati ko vachan radhika prati, ‘an actress addresses Radhika [Radha]’.

Lakshmi

assaging the oot of Vishnu

Circa 1800 Kangra, India Opaque gold and silver on paper Image: 9 1/8 x 6 1/8 in. (23.3 x 15.8 cm.)

Folio: 11 1/8 x 8 1/4 in. (28.5 x 21 cm.) ro e ce ri e collec io “Vishnu or Narayana, looking as young and resplendent as his avatar Krishna, sits crowned and enthroned on a green throne seat.

His four arms carry the usual attributes of Vishnu – mace, lotus, conch and discus. Lasksmi crouches before him reverencing his left foot – his right is raised up and placed on the throne in the traditional posture of royal ease adopted by divinities, maharaja-lilasana.

Vishnu’s posture is a somewhat daring exercise in converting to a perspective view from the side, a composition always seen from the front in earlier sculpture and painting. Behind the throne stands a young woman with a chowrie and the white cloth signifying royalty.

The divinity is here treated exactly like a raja, enthroned on a terrace with dishes awaiting his pleasure.

Two baluster columns enclose the scene, their linking arch half hidden by a textile blind, while instead of a landscape beyond the terrace here i a gold ground sky streaked with orange and rolling clouds.

This painting is a later version of an original of 1765-70 formerly in the collection of Gloria Katz and Williard Huyck, sold at Sotheby’s, New York, 22 march 2002, lot 49, and now in the Benkaim Collection, Los Angeles.

Portraits or scenes viewed through an arched opening had become a commonplace

of Guler painting from the 1750s.

A portrait of Raja Govardhan Chand smoking a hookah, circa 1750 (Archer 1973, Guler 24), employs exactly the same type of pillar and capital with acanthus leaf moulding as does our painting here.

A golden sky frames the figures with rolling coloured clouds and garish streaks above, while a rolled up blind closes the scene at the top.

The vividly coloured sky is also found in Basohli painting at this time (Archer 1973, Basohli 25-26) and reflects influence from Mughal painting both from Delhi and Avadh, possibly brought back to the hills after Nainsukh’s pilgrimage with his new patron Raja Amrit Pal of Basohli to distant Puri in 1763. A lady smoking a hookah on a terrace has exactly the same kind of arched format and background as ours (Losty 2012, no. 17).

For an almost identical painting from the

Galbraith Collection, see Welch & Beach 1965, no. 77.”

References Archer, W.G.,

London, 1973 Losty, J.P., Indian Painting 16001870, exhibition catalogue, New York, Oliver Forge and Brendan Lynch Ltd., London, 2012 Welch, S.C., & Beach, M.C., , New York, 1965

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Krishna and Radha laying Yo-Yo Circa 1800-1810 Kangra, India 9

heightened with gold on paper 8 x in. (2 2 15.2 cm )

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In their union, Radha serves as the manifestation of devotion, whose love for Krishna symbolizes the passion of the believer in forging a bond with the divine. Likewise, Krishna’s cosmic longing for Radha indicates the desire of god for a deeper relationship with the devotee. Other scenes in i mi i re i i g h em lo he o o re im ge o he lo el l i i g he re r o her r er l i g i h he o ec o i r c rom he em i e i hi her o l le her lo er e ce he o o re re e he high lo o io h Kri h er e ll i

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hem el e o l re ir h e er i re ri e e ee hem A narrative from Jayadeva’s Gita Govinda tells of how Krishna threw a naked Radha into the Yamuna before the gopis, embarrassing and infuriating her. he ickl righ e her el ei e Kri h orce chi g i l e hro i g i o i o he i ce lle hi ello g rme ri e o hi lo er re h he he or i o he ri er er hi Kri h emerge rom he m mili g he ki e h re e e l hi i o eo m i ce here he lo er rel io hi l c e re ic l hro gh heir li o iri h Kri h m i i l ce mi io ri e

Krishna and Radha celebrating Holi Circa 1800 Kishangarh, India

heightened with gold on paper 15 3/4 x 11 3/4 in. (40 x 30 cm.) ro e rom

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hi i r im ge e ic h Kri h r ici i g i he i e i l oli cele r io h egi o he e e i g o he ir ll moo e ee l e e r r mi rch e e i o he e m rki g he comme ceme o ri g he ir igh i ic ll k o olik h here eo le g her ro o ire o cele r e he ri m h o goo o er e il he origi o hi e e egi i h he e il emo ki g ir kh ho co i ere him el reme o e ll o he go e e i e hi hi o r hl cho e o or hi i h i ho ori g hi her ir kh k e h he co l o h e i lo l o lo e i h hi emo i er olik o kill him olik r hl o her l e ore o ire hre o h o hem i elie i g h he o l e ro ec e rom he ire i h her m gic h l o e eri g he i er o he h l le o o r hl ro ec e him hile olik co me he l me ih oo er ook he orm o r imh o i h ir kh oi r hl he righ l ki g hi rr i e em h i e he eriori o goo o er e il he im or ce o e o io o he r e go he er he ll moo i h i commo l k o oli he colore igme re hro o er g lloo o e r ici i elie e h hi r i io eg ih h Kri h he Kri h eeli g i ec re o hi r more ir ki Whe he go c me o hi mo her i h co cer o hi rk l e com le io he ol him o color o h ce i or er o e ri o hi i ec ri ie Whe he i hi he o ere i e i i e co le e ce here i li o he e i l o oli i i cele r io o lo e cele r io o goo re ili g o er e il he re e ork l ce Kri h h i he ce er o err ce g i g lo i gl e ch o her e i e he color r i i g o o hem o i rro he co le ome r i g hem i h er g l l ( o ere igme ) hile he o her co her e e ere e he gro i h m ic l i r me he re colore igme i r i io ll o e o he mo o l r color em lo e i oli m oli i g lo e er ili i g ime io o me i g o he ce e or e rlier e m le o he ce e rom Ki h g rh ee Kri h ele r e oli i h h he o i i he collec io o he e m o i e r o o cce io m er 2002 901

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Radha and Krishna with Mirror

Circa 1830

gold on paper

9 1/2 x 7 1/2 in. (24 x 19 cm.) ro e ce rom he ollec io o

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hi ce e i ill r io o he ik ri Ke h he i co r oe ho li e i he 16 h 17 h ce rie o looki g i o mirror i h hi elo e h Kri h he r o her orehe remi e o heir ormer i c r io m i ore eci ic ll he ho gh o he ime he i h e ere ier e cl e i ho he i io er hi comm c o re e o io r h ig i ie he e erl i g re g h o he rel io hi e ee m i Kri h h ih k hmi he r i ook gre c re i hi re eri g el or i g o o l o he oregro e il l o o he r li g l c e ehi he i i e co le cre i g e e o e h i h he ce e i he i ce rh l com r le o he me ec i g o 1800 c e o i he collec io o he io l e mi e elhi cce io o 49 19 129

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Krishna hares a rink with Radha Circa 1800 Kishangarh, India

12 1/4 x 10 in. (32 x 25 cm.) ro e ce： ri e E ro e

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The couple meets at dusk on a terrace overlooking a canal as a boat passes in the background. This tender scene illustrates the divine love that permeates between Radha and Krishna. Radha is often considered to be Krishna’s favorite gopi who was brought away from the other cowherdesses to be alone with him; here, they stand around the lovers, fanning them with a fly whisk and giving offerings. The gopis are not overcome with jealousy towards Radha, as they are grateful and filled with joy whenever they are privileged to be in Krishna’s presence. Radha does not have her own drink, preferring to share what belongs to Krishna. She tugs sensuously on Krishna’s robe, not only signaling her affection for the god, but also her status as his beloved. Meanwhile, across the river, crowds enjoy a palace garden, oblivious to Krishna’s gathering of cowherdesses nearby. Sawant Singh - poet, patron of the arts, and ruler of Kishangarh during the mid-18th century - encouraged the signature Kishangarh style through his patronage. Some of these paintings depicting his own poems, the present example likely one of these illustrations. This scene is reminiscent of an earlier work in the collection of the National Museum in New Delhi that was inspired by the poetry of Sawant Singh, wherein Krishna presents flowers to Radha in the presence of the Gopis (Illustrated in M.S. Randhawa, , 1980, pl.

4.). For more on Kishangarh painting, see V. Mathur, , 1999.

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8

Radha and Krishna Circa 18th century Bundi, India

arasol

heightened with gold on paper Folio: 9 1/2 x 6 7/8 in. (24.13 x 17.46 cm ) ro e ce rh r c ire

e e ie e r 2 1970

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This sensuous painting depicts Krishna embracing Radha, as they take shelter under a beautifull delicate parasol of leaves. As the lovers gaze deeply into each other’s eyes, cows prance around them, enamored by their passion for each other, while stylized clouds evoke the romantic mood further. Lord Krishna, one of Vishnu’s many manifestations, is considered to be one of the most popular deities in the Hindu pantheon. His beloved, Radha, came to be known as Krishna’s divine equivalent, while their union is representative of the duality of devotion and desire. In the Brahma Vaivarta Purana, the two are portrayed as equals through he or h Brahma spoke to Radha: “You are the outcome of the body of Krishna and equal to him i e er respect. No one can say which of you is Radha or Krishna… he represents the soul of the world and you are its body… it is im o i le o make out which architect is at the bottom of this creation. You are eternal like Krishna Reference: Chandra, Pramod, Lalit Kala Akademi, New Delhi, 1959

,

8

Krishna paying homage to Radha Circa 1810 Kangra 9

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heightened with gold on paper

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h lo ge o l rge c hio i h Kri h o i g her ee e em li i g hi i eli o her r i ge e h m e i g o he lo er ere Kri h h em o he ik k o r or e i Ke h ik ri Wi hi he ik ri Ke h el or e o he h ik e cri i g eigh er io o he heroi e hi ork likel e ic he hi ik ik he ho i lo ll lo e h h i ec o her ill he k illi gl choo e o mi him el o hi lo er i i o orce or m i l e orm o e o io r e commi me o he o her Kri h h me he e role o he hero o i com io hi he heroi e e er i g o e l e cri e i he ik ri o o l me li le co -girl h e o r ee cle e him he he or o he i er e i co l cli gi g o o like o r h o e ke c re o o r e ie ir ro ec o like e el-le e ke i he ke re i e i o he im ge ell i he mirror e r er he ch rio o o r e ire like he er o he g hich ollo e i me eri g mo io he ch rio o h gir h o r or re like cri re o him i here ore r o r o i e him rom oi g ll hi e e or he ke o i g him rom c l m While Kri h i i mo or hi hil eri g i i l h h he re r o e r i g or her o reci roc e he i io h co me him o e irel i likel h hi ce e ho he hi ik ik he ork e i e ligh l rom he ic l re e io o ch cl i ic io her ce e o he hi ik ik ho he k cle i g or i i g he ee o hi elo e hi im ge im l e ic Kri h o i g h ee

hi co l e or o com i io o he hi ik ik he Kh i ik o e ho e lo er i e ec e o e he igh i h her i e come o her he e mor i g er r i g i h o her he e ce e he k i ee o i g o he ee o he ik ho r i h r he re e i i g e r o e mic le e ch ge i ro l i o me o or r he Kh i ik gi e h Kri h i o i g r her h cle i g h ee i c e rg e h he ce e re e he li o heir rel io hi ee e e o lo l e ee h Kri h co r e i h he ll o o her ho em he or com hi ec l io i i i g me hor or go he e o ee hile go i l here or he e o e he l o m c re or he re o hi ollo er i ho l ci g oo m ch oc o o e i i i l or r i io l e m le o he hi ik ik ee he h ri r i g o me ec rom he e mo i e r o o cce io m er 17 2483

8

Krishna on the Road to Kundinapura

Attributed to Mola Ram Circa 1740 Garhwal, India Opaque watercolor with gold on paper Image: 7 x 10 in. (17.8 x 25.4 cm.)

Folio: 7 1/2 x 10 3/4 in. (19 x 27.3 cm.) ro e ce ollec io o li he k i

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hi i i g ill r e ce e rom he kmi i r erie r o he h g r h ell he or o Kri h kmi i he l er li e i K i r i h her re ro her me km ho h m e rr geme or kmi i o m rr hi h l ki g o h eri kmi i r l lo ge o m rr or Kri h he h kille K m rie o km o her ro her rohi i e ch io

he 1990 elhi 1968

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In a last attempt to avoid this unwanted marriage, Rukmini sent a Brahmin messenger with a letter to Krishna pleading with him to save her.

Krishna leaves his palace at Dwaraka to come to Rukmini’s aid; this scene is depicted here as Krishna sits upon his chariot en route to rescue her, conversing with the Brahmin messenger while they travel. The present example is attributed to Mola Ram (1743 - 1833, contemporary to

h i ) ho e ork o i el k o k o ri g hi ime h hi name was recognizable as far as Nepal, and artists journeyed from afar to study with him. He was trained in the Mughal tradition under his father Mangat Ram until he was 25, when he visited Kangra and quickly merged their characteristic styles and motifs with his own developing style, demonstrated here with this painting.

See another painting executed by Mola Ram, “Rukmini’s Letter to Krishna” ( , Mukandi Lal, New Delhi, 1968, pp.80-81, pl. XX) for example within the series of the artist’s composite style.

8

The Elephant Meghabaran Goes On A Rampage Circa 1800 Kishangarh Opaque watercolor heightened with gold on paper 8 1/4 x 8 in. (21 x 20.2 cm.) ro e o he

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ork 19 e em er 2008 lo 222

A large elephant named Meghabaran has broken free of his restraining chains and chases his frightened handlers up into the branches of a tree while his mahouts try to subdue him with a goad and swirling fireworks. In the middle distance tiny figures of riders on swaybacked horses are seen galloping to the hunt re accompanied by runners, while on the crest of a nearby hillock, a nobleman holds court beneath a canopy. Behind the hillock emerges a procession led by a tame elephant and in the farthest distance figures are seen climbing up the path of a steep hill toward what appears to be the

indomitable Kishangarh fortress built by Maharaja Roop Singh, whose name is inscribed on the verso of the painting.

The painting is remarkable for its panoramic composition incorporating several different scenes within a receding perspective, a convention that had its origins in earlier Mughal prototypes. The elephant, with his elongated body bedecked with bells and his face decorated with henna, is boldly executed in the distinctive, exaggerated Ki h g rh

style favored throughout the 18th and 19th Centuries. His powerful, robust form is deftly juxtaposed with the miniscule, delicately rendered figures in the background. As Stuart Cary Welch remarks, “... at Kishangarh, the most striking representations tend to be the mysterious and unique ones,� S. C. Welch, , New York, 1976, p. 118.

8

Composite Camel

Circa 1820- 830 , India Opaque watercolors gold on paper Image: 9 x 7 1/4 in. (22.8 x 18.4 cm.)

Folio: 13 1/4 x 9 1/4 in. (33.6 x 23.5 cm.) ro e ce ri e We

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ollec io

c

ire 1970

Originating from the Islamic world, the composite animal figure eventually migrated east into Indian iconography and became a popular subject in the North. These figures appeared as early as the 16th century in India, constituting a spike in creation of these composites hro gh

the 17th century. The composite figure was likely inspired by Buraq, the legendary beast on which Muhammad made his mi’raj (night journey) to paradise as described in the Qur’an. Some scholars speculate that the composite figure comes from tic cults that practiced in preanimalistic Islamic Central Asia.

The rider is oftentimes a peri, a supernatural being descended from fallen angels exiled from heaven until they achieve forgiveness from on high.

88

Women at a Water Well

Circa 1850-1900 Provincial Mughal, India heightened with gold on paper 7 1/2 x 4 3/4 in. (19 x 12 cm.) ro e rom

ce ri e e

ork ollec io

i e ome g her comm l ell mi gr iel collec i g er i o r o heir il chore o o he ome c rr o o heir he hile o o her oc o elli g er i o i co i er lli g re h o rom he e o he ell he righ he i h l o r er i o he mo h o ri ce i e i i le hi or e g r r While he ome re com le i g m e k i li e i h ho e ork mee i g he ell ro i e re k rom he home o or i o oci li e hi i ce ri ce h rri e o i rig e o he ome chol r ch oom r m gge h hi ce e origi e rom he 168 rr i e o o lo er oh i hel o ol he er i oe h mm krim here i ho e er g m l em h mirror hi me i io c lle K m h g r or g K m h h i e ic e i he h ri r i io herei lo e om ill ge ell i ro che ri ce ho re e er he g m l ro c io o likel i co li er r o rce g K m h i er i r 1680-1690

ce e m h e i l e ce he imil r ork i he gh l le c io i h er i oe r o her om re he 18 h ce r il r rom he collec io o he le ller ( cce io o 1974 91 14) i h gh l i i g ill r e i o

( o 9) he il r ork ho o e om hoi i g er rom ell or ri ce o oo hile he gh l ork ho m er o ome he ell o e o hom i o o o r er i o he mo h o ri ce o hor e ck he l er i g o he re e im ge cco or he io o he i ere com o i io re e i g i e o or i or he r i o el or e o he e ch rmi g ig re he l c e e o

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III. Department of Asian Art. “Kushan Empire (ca. 2nd century B.C.–3rd century A.D.)”.

In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/kush/hd_kush.htm (October 2000 Editions de la Reunion des musees nationaux, 2001 V. Eugenia Strong, La Sculptura Romana da Augusto a Constantino (Florence 1923). . Foucher, The Beginning of Buddhist Art and other essays, London, 1918, reprint, Varanasi, 1972, p.4. . Gisela M. Richter, The sculptors and sculptures of the Greek (New Haven and London,1930). . Huntington, John. “The Iconography and Iconology of Maitreya Images in Gandhara.” Journal of Central Asia (1985): 133-78. Print. . Jean- Francois Jarrige et al. National museum arts asiatiques- Guimet. Paris:. . Krishan, Y. The Buddha Image: Its Origin and Development. New Delhi: Munshiram Manoharlal, 1996. Print. . Kumar, Baldev. 1973. The Early Kuşānas. New Delhi, Sterling Publishers. . Rhi, Juhyung. “Bodhisattvas in Gandharan Art.” An Aspect of Mahayana in Gandharan Buddhism. UBC, 2006. 151-180. Print. . Richard Gombrich, Theravada Buddhism: A Social History from Ancient Benares to Modern Colombo. Routledge and Kegan Paul, 1988, . Salomon, Richard, and Gregory Schopen. “ON AN ALLEGED REFERENCE TO AMITABHA IN A KHAROSTHI INSCRIPTION ON A GANDHARAN RELIEF.” Journal of the International Association of Buddhist Studies Volume25.Number1-2 (2002)Print. . The origin of the Buddha image “Studies in Buddhist art of South Asia, ed.A.K. Narain, New Delhi, 1985, p.27.

The origins and Development of the Pensive Bodhisattva Images of Asia: Junghee Lee, Artibus Asiae, Vol. 53, No. 3/4 (1993), pp. 311-357 Goswamy, B. N., and Eberhard Fischer. Pahari Masters: Court Painters of Northern India. Delhi: Oxford University Press, 1997.

Archer, W.G., Indian Painting from the Punjab Hills, 1973 Pal, P., ‘Ramayana Pictures from the Hills in the Los Angeles County Museum of Art’ in R.C. Craven, Jr., ed., Ramayana Pahari Paintings, Bombay. 1990, pp. 87–106 The Ramayana of Valmiki, translated by H.P. Shastri, London, 1952-59 Seyller, J., and Mittal, J., Pahari Paintings in the Jagdish and Kamla Mittal Museum of Indian Art, Hyderabad, 2014 Valmiki, Le Ramayana illustre par les miniatures indiennes du XVIe au XIXe siecle, Paris, 2011 (Goswamy and Fischer, 2011, p. 680, figs. 15-16b and B.N. Goswamy and E. Fischer, Pahari Masters - Court Painters of Northern India, 1992, p. 313, figs.

106-108) Archer, W. G. Indian Paintings from the Punjab Hills; a Survey and History of Pahari Miniature Painting,. London: Sotheby Parke Bernet, 1973. Print.

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Centres of Pahari Painting, by Chandramani Singh. Published by Abhinav Publications, 1982. ISBN 0-391-02412-4.

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Kaul, Manohar. Trends in Indian Painting, Ancient, Medieval, Modern. New Delhi: Dhoomimal Ramchand, 1961. Print.

Kossak , Steven (1997). Indian court painting, 16th-19th century. New York: The Metropolitan Museum of Art. ISBN 0870997831. (see index: p. 148-152) Macdonell, Arthur Anthony (1900), “Kāvya or court epic”, A History of Sanskrit Literature, New York: D. Appleton and company Mehta, N. C. Studies in Indian Painting; a Survey of Some New Material Ranging from the Commencement of the VIIth Century to circa 1870 A.D. Bombay: D.B. Taraporevala Sons, 1926. Print.

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