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Lot Essay
This illustration is from the tenth book of the Bhagavata Purana, which describes episodes from the life of Krishna. The episode is part of the story of the precious gem, the Syamantaka, which belonged to the Sun God and was presented to Satrajit, with Krishna becoming embroiled in the gem's repeated theft and recovery. The scene depicted shows Akrura and Kratvarma approaching Satadhanva with a scheme to murder Krishna and take the gem for themselves.
The present painting is from a large series which W.G. Archer referred to as the ‘Large’ Guler-Basohli Bhagavata Purana series or the ‘Fifth’ Basohli Bhagavata Purana series of 1760-65 (Archer, Indian Paintings from the Punjab Hills, vol.I, London, 1973, pp.49-51). In her discussion of four paintings from the same set in the Chester Beatty Library, Linda York Leach explains: "[They demonstrate] changes that occurred in traditional hill painting during the 18th century. [It] is one of the richest sources of information for our knowledge of Pahari paintings" (L.Y. Leach, Mughal and Other Indian Paintings from the Chester Beatty Library, Vol.II, 1995, p.1048). The composition of the illustrations and style of painting exhibit a strong dependence and awareness of the work of Manaku and Nainsukh, sons of Pandit Seu, and the most renowned Pahari artists of this period. B.N. Goswamy and Eberhard Fischer note that the series is often attributed to Manaku’s son Fattu who was taught by his father. Fattu is thought to have lived with his uncle Nainsukh in Basohli for some time and would have, therefore, also incorporated artistic elements from the latter. It is possible that one of Nainsukh’s sons was also involved in the series (Goswamy (ed.)., et al., Masters of Indian Painting, New Delhi, 2011, p.689). Although difficult to firmly attribute the series to any one painter from the first generation after Manaku and Nainsukh, it is evident that a ‘family style’ can be recognised. Basohli was originally suggested as the place of production but it now seems more appropriate to link the series to a group of painters than to a specific place in the Pahari region. For a list of known series and individual works attributed to this remarkable group of paintings, see Goswamy, op. cit., pp.689-694.
The paintings all bear inscriptions on the reverse in takri and devanagari describing the illustrations.
For other paintings from this series which have sold in these Rooms, see 2 May 2019, lot 99; 12 June 2018, lot 143; 10 June 2015, lots 54-56; and Christie’s, South Kensington, 10 June 2013, lot 177; 7 October 2011, lots 394, 395.
The present painting is from a large series which W.G. Archer referred to as the ‘Large’ Guler-Basohli Bhagavata Purana series or the ‘Fifth’ Basohli Bhagavata Purana series of 1760-65 (Archer, Indian Paintings from the Punjab Hills, vol.I, London, 1973, pp.49-51). In her discussion of four paintings from the same set in the Chester Beatty Library, Linda York Leach explains: "[They demonstrate] changes that occurred in traditional hill painting during the 18th century. [It] is one of the richest sources of information for our knowledge of Pahari paintings" (L.Y. Leach, Mughal and Other Indian Paintings from the Chester Beatty Library, Vol.II, 1995, p.1048). The composition of the illustrations and style of painting exhibit a strong dependence and awareness of the work of Manaku and Nainsukh, sons of Pandit Seu, and the most renowned Pahari artists of this period. B.N. Goswamy and Eberhard Fischer note that the series is often attributed to Manaku’s son Fattu who was taught by his father. Fattu is thought to have lived with his uncle Nainsukh in Basohli for some time and would have, therefore, also incorporated artistic elements from the latter. It is possible that one of Nainsukh’s sons was also involved in the series (Goswamy (ed.)., et al., Masters of Indian Painting, New Delhi, 2011, p.689). Although difficult to firmly attribute the series to any one painter from the first generation after Manaku and Nainsukh, it is evident that a ‘family style’ can be recognised. Basohli was originally suggested as the place of production but it now seems more appropriate to link the series to a group of painters than to a specific place in the Pahari region. For a list of known series and individual works attributed to this remarkable group of paintings, see Goswamy, op. cit., pp.689-694.
The paintings all bear inscriptions on the reverse in takri and devanagari describing the illustrations.
For other paintings from this series which have sold in these Rooms, see 2 May 2019, lot 99; 12 June 2018, lot 143; 10 June 2015, lots 54-56; and Christie’s, South Kensington, 10 June 2013, lot 177; 7 October 2011, lots 394, 395.