Important Notice

Mewar School
Circa 1720
Natural pigments on paper heightened with gold
9 x 7.75 in (23 x 19.5 cm)

NON-EXPORTABLE REGISTERED ANTIQUITY



Rajasthani miniature paintings, particularly those of the Mewar School, often portray couples in various stages of courtship, most famously the Hindu deity Krishna and his beloved Radha. Their love, regarded as the pinnacle of devotion, was popularised through the poetry of Kesavdas of Orchha, particularly his Rasikpriya of 1591. Written in Devanagari script in a regional Central Indian dialect, possibly Braj, the inscription on the yellow colophon praises Krishna’s physical appearance. Although Radha is not named in the inscription, the Gopi seated opposite Krishna may be her, as she is depicted larger than the others. Krishna, distinguished by his blue complexion, gestures in vitarka mudra, associated with teaching or discussion. Noteworthy details include the full moon in the blue evening sky and its reflection in the dark waters below. The style and format suggest an early 18th‒century Mewar work, combining features associated with Mun’s figures and Sahibdin’s colours and composition, both artists stalwarts of the Mewar court.

Mewar School
Circa 1720
Natural pigments on paper heightened with gold
9 x 7.75 in (23 x 19.5 cm)

NON-EXPORTABLE REGISTERED ANTIQUITY



Rajasthani miniature paintings, particularly those of the Mewar School, often portray couples in various stages of courtship, most famously the Hindu deity Krishna and his beloved Radha. Their love, regarded as the pinnacle of devotion, was popularised through the poetry of Kesavdas of Orchha, particularly his Rasikpriya of 1591. Written in Devanagari script in a regional Central Indian dialect, possibly Braj, the inscription on the yellow colophon praises Krishna’s physical appearance. Although Radha is not named in the inscription, the Gopi seated opposite Krishna may be her, as she is depicted larger than the others. Krishna, distinguished by his blue complexion, gestures in vitarka mudra, associated with teaching or discussion. Noteworthy details include the full moon in the blue evening sky and its reflection in the dark waters below. The style and format suggest an early 18th‒century Mewar work, combining features associated with Mun’s figures and Sahibdin’s colours and composition, both artists stalwarts of the Mewar court.