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An illustrated series from the 'Ramayana', circa 1820s, India, West Bengal, Murshidabad or Calcutta,
英国
05月15日 下午5点 开拍 /3天16小时
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An illustrated series from the 'Ramayana', circa 1820s, India, West Bengal, Murshidabad or Calcutta, Company School, comprising five watercolours depicting scenes from Valmiki’s Ramayana epic, opaque pigments on European lined paper with watermark, the largest watermarked with 'AL' enclosed in an oval,largest 31 x 47.5cm5Provenance: Acquired in the United States by the vendor's father at auction, Kuehnert's Auction Gallery Inc., 2 February 1999, lot 130. For proof of purchase, feel free to contact the department. Footnote: The paintings in this lot stand out for their muted palette, predilecting light blue and green tones, and soft figural contours, achieved through a mastery use of the watery gouache brushwork. Such qualities have often been attributed to the North-eastern schools of Indian painting, especially Murshidabad and Calcutta.In the Victoria and Albert Museum’s permanent collection, a late 18th-century painting series of traditional Indian ceremonies attributed to Murshidabad or Calcutta demonstrates comparable approaches to the style, composition, and soft muted palette of the present group. For instance, 'A Muslim Wedding' (circa 1775-1805, accession number IS.11:8-1887), displays a closely aligned treatment of form, particularly in the shading and modelling of the figures' bare legs and animated upraised arms. Facial features are depicted using minimal brushwork to suggest eyes, nose and mouth, and the colouring of the elephant regalia reflects a similar palette and style seen in one of the compositions of this group. Another work, 'The Holi Festival' (circa 1775–1805, accession number IS.11:9-1887), offers points of comparison in its treatment of landscape, especially in the depiction of trees with twisted trunks and branches, and the almost floating, airy quality of the foliage.Another painting worth mentioning here is lot 180 from Bonhams, 'Indian and Islamic Art', 11 June 2020. The execution of the sheep-eater’s attire is comparable to that worn by the central standing monkey figure in an example from this group. The dark red dhoti is painted in an almost identical shade, and the character’s dynamic stance, particularly the bend of the right leg angled slightly forward, recalls the central standing figure in the Bonhams example.In the 18th century, Murshidabad served as the capital of Bengal under the Nawabs, provincial governors appointed by the Mughal emperors to administer key regions such as Bengal and Awadh. As Mughal central authority weakened, these governors increasingly exercised autonomous power, effectively becoming independent rulers. At its height, Murshidabad was among the wealthiest and most significant urban centres in India.However, in the mid-18th century, growing tensions emerged between the Nawabs and the East India Company, driven by expanding British commercial and political ambitions. A decisive turning point came with the Battle of Plassey in 1757, in which Robert Clive defeated Siraj ud-Daulah. This victory marked the beginning of British political dominance in Bengal and initiated the gradual erosion of Nawabi authority. Although Murshidabad remained the nominal seat of the Nawabs, real power increasingly shifted into British hands.By the early 1770s, British administrative authority was formally transferred to Calcutta, owing to its strategic location on the Hooghly River and its growing role as the principal centre in eastern India. As a result, Murshidabad’s political and economic importance declined further. This shift had significant cultural consequences: court patronage diminished, and many Murshidabadi painters and artisans were displaced. Some migrated to other royal courts such as Lucknow and Jaipur, while others moved to Calcutta in search of new patronage and commercial opportunities. In adapting to these changing conditions and the tastes of British patrons, artists gradually developed a style that responded to European aesthetics, contributing to the emergence of the 'Company School' of painting in Calcutta (Mildred Archer, 'Company Drawings in the India Office Library', 1972, p.61).What is particularly noteworthy about the present lot is that, despite the artists’ attempt to respond to European aesthetics, the paintings depict scenes from Valmiki’s 'Ramayana', the ancient Indian epic narrating Prince Rama’s journey to Lanka to rescue his wife Sita from the demon king Ravana. The 'Ramayana' is a crucial text for many Hindu believers, and its illustrations bear great cultural significance across the whole subcontinent. Thus, this series should not be considered as a mere British export production, but rather a mastery illustration of a foundational text of Hindu culture and philosophy by Murshidabadi artists.Other related paintings attributed to the same school and period, possibly once part of the same series, feature in lots 260 and 261.

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