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A LARGE BASOHLI PAINTING DEPICTING A NAYIKA UNCONSCIOUS OF HER YOUTH, AJNATA-YAUVANA-MUGDHA,
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06月30日 下午5点 开拍 /9天3小时
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A LARGE BASOHLI PAINTING DEPICTING A NAYIKA UNCONSCIOUS OF HER YOUTH, AJNATA-YAUVANA-MUGDHA, 18TH-19TH CENTURYNorthern India, Pahari region. Opaque pigments and gold paint on cloth. The Nayika with moon-like face stands drying herself beside the pool, her charming face is depicted with a receding forehead, high nose, and wide lotus petal-like eyes, one hand moves to brush something off her face, while the other pushes her slick long hair off her body. The half dressed maiden wearing a simple white cloth around her waist and pearl necklaces around her slender neck. She is attended by a lady-in-waiting who offers her an ornament. All set within a verdant background with lush trees, a stream with lotus blossoms, and a pavilion to the back.Provenance: From a private collection in United States. Condition: Good condition with expected wear, minor creasing, little soiling, light fading to pigments, minor rubbing gilt. Dimensions: Size 85 x 145 cmThe present painting illustrates the fifth verse from Bhanudatta's Rasamanjari which is translated below:Youth has come unknown. The Nayika with moon-like face stands drying herself beside the pool. Her full-blown eyes look like lotuses in the reflection, and thinking that perhaps the flowers have stuck to her ears, she moves her hands to brush them away. Next her eyes drift to the downy hair on her person which she mistakes for algae and tries to wipe off. Her hips feel heavy, and in virginal innocence she asks her companion again and again, 'Can it be that I am tired?' Shringara literature in Sanskrit and Hindi classics has a unique place in world literature. Shringara refers to love as represented in literature. Nayaka is the hero or lover. Nayika is the heroine or woman who is loved. Nayikas are classified according to their age or experience, their physique and talent. Following this tradition Bhanudatta, who belonged to Tirhut in Bihar, wrote his Rasamanjari (Essence of the Experience of Delight), in the fifteenth century. In Rasamanjari, the subject of Nayika-bheda is treated for its own sake for the first time in Indian literature. Rasamanjari has a unique place in Sanskrit love poetry. In the close of the sixteenth century, it provided the base for the Rasikapriya of the Hindi poet, Keshav Das of Orchha, which contains a more elaborate classification of Nayikas and Nayakas, and their moods and feelings.Rasamanjari is an important record of the social life of the upper classes in India in the close of the fifteenth century. It reveals an ease loving society in which plurality of wives was common. Most of the piquant situations described by Bhanudatta arise when the Nayaka tries to make love to his favorite without exciting the jealousy of the other. Apart from being a record of social life Rasamanjari also reveals the spiritual aspiration of the Hindus in the age. From its pages we learn how Krishnaism, the cult of a loving God, was finding popularity among the people.Literature comparison:Compare a closely related illustration to verse five of the Rasamanjari in the collection of the Dogra Art Gallery, Jammu, and illustrated by Mohinder Singh Randhawa and S. D. Bhambri in Basohli Paintings of the Rasamanjari, 1981, p. 13. Compare a related Pahari large-scale painting on cloth, dated after 1782, 73 x 256.5 cm, in the Cleveland Museum of Art, accession number 2018.120.Auction result comparison: Type: Related Auction: Sotheby's Paris, 12 December 2024, lot 28 Price: EUR 31,200 or approx. EUR 32,500 adjusted for inflation at the time of writing : A Picchavai painting depicting Shrinathji, India, 20th century Expert remark: Note the size (175 x 275 cm).

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