Illustration to the Bhagavata Purana: Sage Sukdeva and King Parikshit
Himachal Pradesh, Guler Workshop, circa 1775-1800
Opaque watercolor on paper
Image: 7 1/4 x 10 1/16 in. (18.4 x 25.6 cm.)
Folio: 8 1/2 x 11 1/4 in. (21.6 x 28.6 cm.)

Small inscriptions above the men identify them as Sukdeva on the left and Parikshit on the right. Sukdeva was a learned sage or philosopher and the narrator of the Bhagavatapurana, the epic tale of the life and adventures of the great Hindu god Krishna. Sukdeva spent a week reciting the text to King Parikshit, who gained salvation by listening to the story. The scene takes place within a small pavilion hovering above the banks of the holy river Ganga (known today as the Ganges), where the recitation took place.

Ladies Visiting an Ascetic at Night
Mughal Style, early 18th century
Opaque watercolor on paper
Image: 6 7/8 x 4 3/16 in. (17.5 x 10.6 cm.)
Foilio: 7 7/8 x 5 1/8 in. (20.0 x 13.0 cm.)

The exquisite details in this painting—the crescent moon and starry night sky, the dazzling multilayered outfits of the two young women and the delicate leaves of the flourishing tree—are hallmarks of the Mughal style of Indian painting. A pious young woman and her female companion visit a guru, who has long matted hair, a beard and fingernails. Painting night scenes became popular during the reign of Shah Jahan, a Mughal emperor (r. 1628–58) who was a great patron of the arts.

A Sikh Guru and a Prince in Conversation
Himachal Pradesh, Guler Workshop, circa 1800-1825
Opaque watercolor on paper
Image: 8 5/8 x 6 3/8 in. (21.9 x 16.2 cm.)
Folio: 11 1/2 x 9 in. (29.2 x 22.9 cm.)

At first glance, one might presume that the prominent figure on the right of this painting is the prince, and the smaller figure the Sikh guru. The opposite is true. Sikh teachers, admired for both their religious and military abilities, were portrayed in art as princely soldiers. The guru sits on a beautiful floral carpet, and he holds a bow and arrow as well as a sword. His servant fans him from behind while holding his buckler.

By contrast, the prince is seated without the traditional trappings of a royal figure. His elite status is conveyed by his rich textiles and jewelry.

An Equestrian Portrait of a Sikh Prince
Himachal Pradesh, Kangra Workshop, circa 1825-1850
Opaque watercolor on paper
Image: 8 1/4 x 6 7/8 in. (21.0 x 17.5 cm.)
Folio: 9 3/4 x 7 1/2 in. (24.8 x 19.1 cm.)

Admired for their courage and physical prowess, the Sikhs form a distinct and admired community in India. Sikhs are easily distinguished from other Indians by their turbans, which cover their long hair and beards, both of which they are forbidden to cut. Sikh gurus are both religious and military leaders and are commonly portrayed as princely soldiers, as in this equestrian portrait.

Folio from a Bhagavata Purana Series: King Yudhisthira Performs the Rajasuya Sacrifice
Himachal Pradesh, Kangra Workshop, circa 1825-1850
Opaque watercolor on paper
Image: 10 1/2 x 15 5/8 in. (26.7 x 39.7 cm.)
Folio: 12 1/4 x 17 in. (31.1 x 43.2 cm.)

This complex scene depicts several episodes from one chapter of the Bhagavata Purana. Key characters appear in multiple locations, represented at different points in time. For example, King Yudhisthira can be seen bathing in the river with maidens, then dressing himself on its bank moments later.

This depiction of the king and maidens in the river is a reworking of a popular motif used in many Indian paintings: Krishna at play in the Jamuna River with female devotees. The depiction of this motif was meant to catch the attention of the erudite viewer, communicating the painter’s own knowledge of the tradition in which he worked.

Ladies Watching a Cockfight
Rajasthan, Bundi School, 1725
Opaque watercolor on paper
Image: 10 1/4 x 7 1/4 in. (26 x 18.4 cm.)
Folio: 11 7/8 x 9 in. (30.2 x 22.9 cm.)

This picture offers a glimpse into private life in the zenana (ladies’ quarters) of a Rajput palace. Two elegant ladies and several maids while away the afternoon by conducting and watching a lively cockfight, a pastime most commonly favored by men.

Man-Lion Incarnation of Vishnu
Himachal Pradesh, Mankot or Bahu, circa 1700
Opaque watercolor on paper
Image: 6 1/8 x 5 1/2 in. (15.6 x 14.0 cm.)
Folio: 7 3/8 x 6 1/2 in. (18.7 x 16.5 cm.)

The malevolent king Hiranyakashipu, here spread across Vishnu’s lap, was granted an imperfect form of immortality by the gods. He could not be killed during the day or at night, indoors or outdoors, by man or by beast. When he attempted to kill his own son, Vishnu intervened. In half-man, half-lion form, Vishnu burst from a doorpost at twilight and tore Hiranyakashipu apart, evading all of the conditions protecting the king.

Vishnu’s triumph relied on a paradox fundamental to Hindu belief: being both man and lion, indoors and outside, he was also neither of these things. The division of space within the doorway emphasizes this rather abstract idea, as Vishnu’s face is framed by daylight on one side and darkness on the other.

Khusraw Spies Shirin Bathing
Mughal Style, circa 1700
Opaque watercolor on paper
Image: 4 3/4 x 2 5/8 in. (12.1 x 6.7 cm.)
Folio: 11 7/8 x 7 3/8 in. (30.2 x 18.7 cm.)

This episode appears early in the story, before the two lovers have met in person; in fact, they have only seen portraits of one another. While riding on his horse, Khusraw admires a young beauty bathing but does not know it is Shirin.

Krishna Demands a Toll
Himachal Pradesh, Kangra or Uttaranchal, Garhwal, circa 1825
Opaque watercolor on paper
Image: 9 1/8 x 7 1/8 in. (23.2 x 18.1 cm.)
Folio: 11 3/4 x 9 3/4 in. (29.9 x 24.8 cm.)

This encounter between the blue-skinned Krishna and his consort, Radha, is a variation on the theme of dana lila, or “gift play.” Radha, dressed as an officer, threatens to take Krishna into custody for making cheeky comments towards her and her female companions.

A city looms large in the painting’s background. Architectural details such as pierced-stone screens and railings and balcony spaces are clearly discernible against pink and white walls. In the shadow of this urban space, the lovers exercise a coy restraint, while two of Krishna’s companions gaze at the couple knowingly.

Folio from a Bhagavata Purana Series: Priests Perform a Sacrifice
Odisha, possibly Puri, 19th century
Opaque watercolor and gold on paper
Image: 8 3/8 x 11 5/8 in. (21.3 x 29.5 cm.)
Folio: 9 1/4 x 12 3/4 in. (23.5 x 32.4 cm.)

This painting from a Bhagavatapurana is accompanied by five lines of text in the distinctive Oriya script, common to Orissa. This particular scene revolves around a discussion concerning the cooking of sacrificial rice.

Shirin Mourning Farhad’s Death
Provincial Mughal Style, 18th century
Opaque watercolor on paper
Image: 11 x 7 in. (27.9 x 17.8 cm.)
Folio: 13 1/2 x 10 in. (34.3 x 25.4 cm.)

The tragic love story of Shirin and Khusraw is the Persian equivalent of Romeo and Juliet. Shirin’s father encourages Farhad, Khusraw’s rival, to cut a road through an impenetrable mountain; if he is successful, he will offer him his daughter’s hand in marriage. Fueled by passion, Farhad works day and night and nearly completes the seemingly impossible task. Shirin’s father then dupes the lovesick man by sending an old woman to tell him that Shirin has died. Grief-stricken, Farhad jumps to his death. Below, Shirin mourns his unfortunate and tragic death, while the old woman covers her face in shame.

Illustration to the Bhagavata Purana: The Building of the Fort
Himachal Pradesh, Kangra Workshop, circa 1825
Opaque watercolor on paper
Image: 14 x 19-7/8 in. (35.6 x 50.5 cm.)
Folio: 15-3/8 x 21 in. (39.1 x 53.3 cm.)

This image is likely from the same workshop that produced the Gita Govinda series at left, although the intimacy of the forest has given way here to a large clearing. The foliage and vines on each tree and the tiny body of each songbird are still rendered with care, but these details are peripheral to the episode pictured.

Krishna’s fort was built in the sea, although its construction appears to unfold in a large clearing here. Only a silvery strip at the bottom of the page hints at the scene’s proximity to the water.

The Month of Bhadon (August-September)
Rajasthan, Bundi or Uniara Workshop, circa 1750
Opaque watercolor and gold on paper
Image: 9 3/8 x 6 3/8 in. (23.8 x 16.2 cm.)
Folio: 9 1/2 x 6 5/8 in. (24.1 x 16.8 cm.)

A major literary theme in the Indian painting tradition is the representation of the seasons and their emotional connotations. The month of Bhadon (August–September) occurs during monsoon season and is therefore a time for lovers not to be parted, but to remain together safely indoors. In this painting, lions and elephants run amok, peacocks cower in the bushes and rain sheets down from the darkened night sky. Observing all of this is a couple, gazing at one another with love and affection from their protected balcony.

Illustration from an Abduction of Rukmini Series: The Marriage of Krishna and Rukmini
Himachal Pradesh, Kangra Workshop, circa 1800
Opaque watercolor on paper
Image: 7 3/4 x 11 7/8 in. (19.7 x 30.2 cm.)
Folio: 9 7/8 x 13 3/8 in. (25.1 x 34.0 cm.)

This painting illustrates the happy conclusion of the Rukmini-haran, a story describing the princess Rukmini’s devotion to Krishna. Having escaped an unhappy betrothal to a powerful king, she travels to Krishna’s palace in Dvaraka to be wed to the blue lord.

The artist has used a combination of perspectives to illustrate the wedding ceremony and onlookers’ reactions. Krishna, Rukmini, and other participants in the ceremony are seen from above, yet the patterned surface of the palace walls that surround them runs along the painting’s bottom edge. This manipulation of interior and exterior spaces characterizes the work of Phurku, a painter who worked in the Kangra workshop for nearly forty years, and who may have executed this painting.

Raja Devichand of Bilaspur
Himachal Pradesh, Kangra Workshop, circa 1775
Opaque watercolor on paper
Image: 7 7/8 x 4 7/8 in. (20.0 x 12.4 cm.)
Folio: 9 3/4 x 6 1/2 in. (24.8 x 16.5 cm.)

Raja Devichand is shown here seated in profile and smoking from an elaborate huqqa, or water pipe. While this is a formal portrait of the raja, its informal setting and the depiction of his solitary smoking are meant to convey a quiet moment of contemplation. Portraits of elite men smoking huqqa are not unusual, as they became a standard visual trope from the 16th century onward. They demonstrated the high status and refinement of such men.

In this painting, the raja is surrounded by symbols of his status, such as the servant cooling him with a peacock-feather fan and the sword that rests at his side. The huqqa, floral carpet, decorated bolster and pillows, as well as his delicately embroidered robes, convey the raja’s refined tastes and his ability to afford such luxury goods.

Illustration from an Abduction of Rukmini Series: Rukmini and the Messenger
India, Himachal Pradesh, Guler Workshop, circa 1775-1800
Opaque watercolor on paper
Image: 7 1/8 x 10 7/8 in. (18.1 x 27.6 cm.)
Folio: 7 7/8 x 11 1/2 in. (20.0 x 29.2 cm.)

This painting is from the Rukmini-haran, or the Abduction of Rukmini, a tale of romance and chivalry. Part of the Bhagavatapurana, the Rukmini-haran tells the story of the princess Rukmini, who is betrothed to a man she does not love, while secretly she is in love with Krishna. The two make a plan for Krishna to kidnap Rukmini on her intended wedding day; they later marry and live happily ever after. In this painting, a messenger returns to Rukmini with a message from Krishna. On the left, a maid holding a flywhisk sits idly by.

Man-Lion Incarnation of Vishnu
Rajasthan, Mewar, 1650
Opaque watercolor on paper
Image: 6 5/8 x 8 5/8 in. (16.8 x 21.9 cm.)
Folio: 7 1/2 x 9 1/2 in. (19.1 x 24.1 cm.)

Provenance:
Gift of Ramesh and Urmil Kapoor.

Krishna the Butter Thief
Himachal Pradesh, Bilaspur Workshop, 1725-1750
Opaque watercolor on paper
8 x 5 5/8 in. (20.3 x 14.3 cm.)

Provenance:
Gift of Ramesh and Urmil Kapoor

Emancipation of the Ogress Putana
Madhya Pradesh, Malwa, 1675-1700
Opaque watercolor on paper
Image: 8 1/2 x 13 in. (21.6 x 33.0 cm.)
Folio: 9-1/2 x 14 in. (24.1 x 35.6 cm.)

Provenance:
Gift of Ramesh and Urmil Kapoor

A Sketch for a Satsai Illustration: Peeping Tom
Himachal Pradesh, Guler or Kangra Workshop, circa 1800-1850
Ink and graphite on paper
Image (oval): 5 3/8 x 4 1/8 in. (13.7 x 10.5 cm.)
Folio: 5 3/4 x 4 3/8 in. (14.6 x 11.1 cm.)

Hazrat Qasim, Son of Hazrat Hasan, on Horseback
Mughal Style, 1750
Opaque watercolor on paper
Image: 7 3/8 x 4 1/2 in. (18.7 x 11.4 cm.)
Folio: 16 3/4 x 12 1/4 in. (42.6 x 31.1 cm.)

Krishna’s Palace in Dvaraka
Himachal Pradesh, Kangra Workshop, 1850
Opaque watercolor on paper
Image: 15 1/8 x 17 7/8 in. (38.4 x 45.4 cm.)
Folio: 15 7/8 x 18 5/8 in. (40.3 x 47.3 cm.)

Provenance:
Gift of Ramesh and Urmil Kapoor

Victorious Krishna Dances on Kaliya
Rajasthan, Kishangarh Workshop, 1775
Opaque watercolor on paper
Image: 11 5/8 x 7 3/8 in. (29.5 x 18.7 cm.)
Folio: 15 x 10 5/8 in. (38.1 x 27.0 cm.)

Provenance:
Gift of Ramesh and Urmil Kapoor

Leaf from a Manuscript of Jayadeva’s Gita Govinda: Falliance of Krishna and Radha
Attributed to the painter Govinda (Indian, fl. 1580-1611), circa 1600
Opaque watercolor on paper
Image: 3 3/4 x 9 1/8 in. (9.5 x 23.2 cm.)
Folio: 5 x 10 in. (12.7 x 25.4 cm.)

Provenance:
Gift of Ramesh and Urmil Kapoor

Folio Illustrating Episodes from the Jarasandha Story
Rajasthan, Bikaner, 1625-1650
Opaque watercolor on paper
Image: 3 3/4 x 10-5/8 in. (9.5 x 27.0 cm.)
Folio: 6 x 11 3/8 in. (15.2 x 28.9 cm.)

Provenance:
Gift of Ramesh and Urmil Kapoor

Ajit Singh of Ghanerao
1812
Opaque watercolor on paper
Image: 11 1/4 x 9 in. (28.6 x 22.9 cm.)
Folio: 11 1/2 x 9 1/4 in. (29.2 x 23.5 cm.)

Provenance:
Gift of Ramesh and Urmil Kapoor.

The Fish (Matsya) Incarnation of Vishnu
Himachal Pradesh, Mandi Workshop, circa 1775
Opaque watercolor on paper
Image: 7 1/2 x 9 1/2 in. (19.1 x 24.1 cm.)
Folio: 8 3/4 x 11 in. (22.2 x 27.9 cm.)

Provenance:
Gift of Ramesh and Urmil Kapoor.

Folio from a Samgrahanisutra Manuscript: The Court of Indra Gujarat or Rajasthan, 1575-1600
Opaque watercolor on paper
Image: 4 1/8 x 8 3/4 in. (10.5 x 22.2 cm.)
Folio: 4 1/2 x 9 3/4 in. (11.4 x 24.8 cm.)

Provenance:
Gift of Ramesh and Urmil Kapoor.

Krishna Converses with a Messenger
Himachal Pradesh, Kangra Workshop, circa 1800
Opaque watercolor on paper
Image: 7 1/4 x 4 5/8 in. (18.4 x 11.7 cm.)
Folio: 9 1/2 x 6 7/8 in. (24.1 x 17.5 cm.)

Provenance:
Gift of Ramesh and Urmil Kapoor.

Folio from a Ragamala Series: Agada Ragaputra
Himachal Pradesh, Mankot Workshop, 1750-1775
Opaque watercolor on paper
Image: 8 1/8 x 6 1/8 in. (20.6 x 15.6 cm.)
Folio: 10 1/4 x 8 1/8 in. (26.0 x 20.6 cm.)

Provenance:
Gift of Ramesh and Urmil Kapoor.

Maharao Basant Singh and Maharaja Sahab Prithivi Singh
Rajasthan, possibly Kota, circa 1775
Opaque watercolor on paper
Image: 7 1/4 x 10 1/2 in. (18.4 x 26.7 cm.)
Folio: 8 1/4 x 10 1/2 in. (21.0 x 26.7 cm.)

Provenance:
Gift of Ramesh and Urmil Kapoor.

Leaf from an Album: Sultan Abu Sa’id
Mughal Style, 1650-1675
Opaque watercolor on paper
Image: 5 7/8 x 3 1/4 in. (14.9 x 8.3 cm.)
Folio: 13 3/4 x 8 7/8 in. (35.0 x 22.5 cm.)

Provenance:
Gift of Ramesh and Urmil Kapoor.

Folio from a Devimahatmya: Vishnu with Madhu and Kaitabha
Rajasthan, Bikaner, 18th century
Opaque watercolor on paper
Image: 4 5/8 x 3 1/8 in. (11.8 x 7.9 cm.)
Folio: 5 x 9 in. (12.7 x 22.9 cm.)

Provenance:
Gift of Ramesh and Urmil Kapoor.

Ladies Worship Krishna and Radha
Harinarayan (Indian), circa 1900
Opaque watercolor on paper
Image: 13 3/4 x 9 3/4 in. (34.9 x 24.7 cm.)
Folio: 16 1/4 x 12 1/4 in. (41.3 x 31.1 cm.)

Provenance:
Gift of Ramesh and Urmil Kapoor.

Devi Fighting Raktavija
Himachal Pradesh, Guler Workshop, circa 1775-1800
Ink and opaque watercolor on paper
Image: 7 5/8 x 9 3/8in. (19.4 x 23.8 cm.)
Folio: 8 1/8 x 11 5/8 in. (20.6 x 29.5cm)

Provenance:
Gift of Ramesh and Urmil Kapoor.

Infant Krishna Destroys the Demon Trinavarta
Himachal Pradesh, Kangra Workshop, circa 1775-1800
Ink and opaque watercolor on paper
Image: 8 1/8 x 12 1/4 in. (20.6 x 31.1 cm.)
Folio: 10 x 13 3/4 in. (25.4 x 34.9 cm.)

Provenance:
Gift of Ramesh and Urmil Kapoor.

Illustration from a Devimahatmya: Durga Engages the Buffalo Titan
Himachal Pradesh, Guler Workshop, circa 1825
Opaque watercolor on paper
Image: 7 3/8 x 10 1/2 in. (18.7 x 26.7 cm.)
Folio: 9 7/8 x 13 in. (25.1 x 33.0 cm.)

Provenance:
Gift of Ramesh and Urmil Kapoor.

Folio from a Ragamala Series: Bhairavi Ragini
Madhya Pradesh, Malwa, circa 1625-1650
Opaque watercolor on paper
Image: 7 1/4 x 5 7/8 in. (18.4 x 14.9 cm.)
Folio: 8 3/4 x 6 1/4 in. (22.2 x 15.9 cm.)

Provenance:
Gift of Ramesh and Urmil Kapoor.

A Folio from the Satsai (?): Ravishing Revelation
Uttaranchal, Garhwal Workshop or Himachal Pradesh, Kangra Workshop, circa 1825
Opaque watercolor on paper
Image: 7 5/8 x 5 1/4 in. (19.4 x 13.3 cm.)
Folio: 9 3/4 x 7 1/8 in. (24.8 x 18.1 cm.)

Provenance:
Gift of Ramesh and Urmil Kapoor.

Raja Ranjit Sen of Suket and Family
Himachal Pradesh, Kangra Workshop, circa 1775
Opaque watercolor on paper
Image: 8 1/8 x 6 1/2 in. (20.6 x 16.5 cm.)
Folio: 10 1/4 x 8 1/2 in. (26.0 x 21.6 cm.)

Provenance:
Gift of Ramesh and Urmil Kapoor.

Illustration from a Ragamala Album: Bhairava Raga
Andhra Pradesh (Deccan), Hyderabad, circa 1700-1750
Opaque watercolor and gold on paper
Image: 11 1/4 x 7 in. (28.6 x 17.8 cm.)
Folio: 14 1/8 x 9 5/8 in. (35.9 x 24.4 cm.)

Provenance:
Gift of Ramesh and Urmil Kapoor.

Illustration from a Bhagavata Purana Series: Story of the Syamantaka Gem
Madhya Pradesh, Malwa, circa 1700
Opaque watercolor on paper
Image: 6 5/8 x 14 in. (16.8 x 35.6 cm.)
Folio: 7 3/4 x 14 1/2 in. (19.7 x 36.8 cm.)

Provenance:
Gift of Ramesh and Urmil Kapoor.

Dancing Ganesha
Madhya Pradesh, 11th century
Sandstone
41 1/2 x 23 1/2 x 11 in. (105.4 x 59.7 x 27.9 cm.)

Provenance:
Gift of Ramesh and Urmil Kapoor.