.jpg?w=1)
Lot Essay
Scenes of the Holy Family in domestic bliss were a popular theme with Pahari painters. In these scenes, Shiva is transformed and humanized from the wild ascetic to a doting husband and father though still retaining trappings of his divine status. According to W.G. Archer, Indian Paintings from the Punjab Hills, 1973, vol. 1, pp. 361-66, Sajnu, native to Guler left his Kangra patron, Sansar Chand, and came to work for Raja Isvari Sen of Mandi in 1808 after turmoil forced him from the Kangra kingdom. The distinct painting modes of the three regions culminate in this and the following lot.
The oval format, decorative floral borders and flowing line are elements of the Kangra style that came into vogue in the latter 18th century influenced from Mughal court painting. Guler style is exemplified by the jagged abstract rock formations, delicate palette, and geometrical compositions that Archer states "at times violates realism for the sake of geometric drama." Mandi ruler Raja Isvari Sen, as a devout follower of Shiva, provided the impetus for these commissions.
See detail opposite table of contents page
The oval format, decorative floral borders and flowing line are elements of the Kangra style that came into vogue in the latter 18th century influenced from Mughal court painting. Guler style is exemplified by the jagged abstract rock formations, delicate palette, and geometrical compositions that Archer states "at times violates realism for the sake of geometric drama." Mandi ruler Raja Isvari Sen, as a devout follower of Shiva, provided the impetus for these commissions.
See detail opposite table of contents page