Even if the attendant or station inspector had shouted ‘Mind the Gap’ (the phrase first used in 1969 at rail stations in the United Kingdom), it would not have prevented the horrific accident that befell Sir Donald Friell McLeod at the railway station at Gloucester Road in 1872. Arriving at the Metropolitan Line platform on 28 November, the station inspector told McLeod that he was too late to catch the train heading towards South Kensington; moments later, he shouted ‘stop, you will be run over’ (London Standard, 3 December 1872).
In investigating the accident, the Belfast News wrote on 4 December, ‘It seems that he must have attempted to enter his compartment while the carriages were already in motion, and that, falling with the sudden and violent movement of the train, he was dragged along for several yards. The right arm, which probably to the last had retained its hold upon the platform and footboards, was uninjured. But the left arm and both legs were nearly severed from the body, although the train was stopped with praiseworthy promptitude.’ Sir Donald McLeod, formerly the Lieutenant-Governor of the Punjab (1865-70), died at St George’s Hospital later that day.
As an important figure in Anglo-Indian history, McLeod spent the majority of his life in the subcontinent. Born in Calcutta in 1810, he was the younger son of Lieutenant-General Duncan McLeod (d.1856) of the Bengal Engineers. When he was only 4 years old, McLeod was sent to the Scottish Highlands and raised by his grandfather. Educated in Edinburgh and London, he went on to attend the prestigious East India College at Haileybury before returning to Calcutta in 1828. McLeod entered into service for the East India Company and served as the Judicial Commissioner of the British Punjab in 1854 and ultimately as the Lieutenant-Governor of the Punjab between 1865-70. A devout Christian, McLeod committed his life to various philanthropic projects including helping to establish the University of Punjab (Lahore), also known as the Lahore Oriental University.
Lt. Governor [Sir Donald McLeod] and others, Murree, 1865. British Library, Photo 211/1(61). In the front row: Mr. Robert, Reverend Dr. George Edward Lynch Cotton, Sir Donald McLeod, Captain Alexander Taylor, and Major-General Edward John Lake.
Whilst living in the Punjab, the stories of McLeod’s philanthropy and devoutness captivated the locals. According to the entry in the Oxford Dictionary of National Biography, ‘cheap coloured lithographs circulated in Lahore showing him seated as a holy man being venerated by Sikh ascetics’. Although I could not locate a lithograph of the subject, I was surprised to locate a painting of the exact subject in the Wellcome Collection (London). In the scene below, the artist depicted Sir Donald McLeod seated on a cushion with his legs crossed and with his head encircled in a nimbus and accompanied by putti; these attributes, along with the attendant holding a flywhisk, which is of course an insigna of royalty, are suggestive that the artist or patron revered McLeod as royalty.
Sir Donald Friell McLeod surrounded by admiring Sikh elders, c. 1870. Wellcome Library, London.
Local artists continued to be fascinated with McLeod, even after his return to England. A fascinating yet somewhat peculiar painting substantiates this claim. A painting in the British Library, by a Sikh artist, depicts the artist’s interpretation of the horrific accident at Gloucester Road station. While incident reports as well as obituaries in UK newspapers provided detailed accounts on McLeod’s death, the story must have been printed in either local English or Punjabi newspapers in Lahore.
The accident that befell Sir Donald Friell McLeod at Gloucester Road underground station, 1872, and its aftermath. By a Punjab artist, c.1885. Water-colour heightened with bodycolour and gold, on paper laid on card; 342 by 482 mm. British Library, Add.Or.5266.
In the painting (above), we see the artist’s personal interpretation and understanding of the details of the accident. In the lower left corner, four members of the British public have come to McLeod’s aide and assist to remove him from the railway track. In nearby train carriages, curiously both British and Punjabi-Sikh figures observe the accident. The story continues to unfold with McLeod being transferred to the tent (middle-right) where British political aides tend to the injured. Based on the photograph of McLeod taken at Murree (at top), I wonder if the three men closest to McLeod are the Judicial Commissioner Mr. Roberts, Captain Alexander Taylor (holding McLeod) and the Right Reverend Dr. George Edward Lynch Cotton (d.1866)? From this point, the viewer’s focus is directed to the upper left corner of the painting where Sikh ascetics and members of the prestigious Akali Sikh military order bid farewell to McLeod who is carried away by angels on a palanquin.
Detail of the painting
As McLeod passed away within hours after the accident and was buried in Kensal Green Cemetery in London, it is rather strange and curious that the artist transported the incident to the Punjab, where both Punjabi-Sikhs and British officers witnessed the event and were with him during his final moments. However, as the local community revered Sir Donald Friell McLeod, the painting is appropriate to commemorate McLeod.
Further reading:
Katherine Prior, ‘McLeod, Sir Donald Friell (1810–1872)’, Oxford Dictionary of National Biography, Oxford University Press, 2004 [http://www.oxforddnb.com/view/article/17669, accessed 12 Aug 2014]
Susan Stronge (ed), The Arts of the Sikh Kingdoms, Victoria and Albert Museum Publications, 1999.
James Skinner (1778–1841) was one of the leading patrons of Delhi artists in the second quarter of the 19th century. The son of a Scottish soldier father and Rajput mother, Skinner was a born soldier and leader of men, but was denied a place in the East India Company’s armies on account of his birth; he became a mercenary working for the Marathas who controlled Delhi at the end of the 18th century. With the outbreak of war between the East India Company and the Marathas in 1803, he took advantage (as did others in similar circumstances) of the Company’s offer to come over to its side. In February 1803, from the men who followed him, he founded a regiment of irregular cavalry, Skinner’s Horse, known as the ‘Yellow Boys’ on account of the men’s yellow surcoats, the first irregular regiment of cavalry in the East India Company’s army. He raised a second regiment of Yellow Boys to assist the Company’s forces at the beginning of the war with Nepal in 1814. It rankled with Skinner that he felt unacknowledged by the Company, which he had done so much to help, until the Governor-General Lord Moira in January 1815, when they met at Skinner’s base in Hansi, gave him the rank of honorary Lt. Col. with precedence over lower ranked gazetted officers (Hastings 1858, vol. 2, pp. 293-5).
Colonel James Skinner, attributed to Ghulam Murtaza Khan, Delhi, 1830. 19 x 12.5 cm (British Library Add.27254, f. 4r)
Skinner’s patronage of Delhi artists doubtless began on account of his friendship with the Fraser brothers, the commissioners of the Fraser Album of paintings from 1815-19 (see Archer and Falk 1989). Skinner’s major commissions include the paintings in his album put together in the 1820s (British Library, Losty and Roy 2012 pp. 222-5), the three large watercolours he commissioned from Ghulam ‘Ali Khan in 1827-8 showing his regiments and his estate at Hansi and another two in 1836 marking his newly built church of St. James in Delhi (National Army Museum, see Dalrymple and Sharma 2012, nos. 58-60, and Losty 2012, figs. 102-3), and those illustrating his writings on castes and rulers (British Library and elsewhere). This is a significant body of work that marks Skinner as the most important patron of the time in Delhi. For overviews of Skinner’s patronage and literary compositions, see Losty and Roy 2012, pp. 222-8, and Dalrymple and Sharma 2012, pp. 32-9.
Skinner was a well-educated man and although his English was from all accounts never very good, his Persian was excellent. This post is concerned with the newly digitised manuscript of one of the two texts that he wrote in that language. His Tazkirat al-Umara (Add.27254, ‘Biographies of the Nobles’) deals with the history of the princely families of Rajasthan, Haryana and the Punjab, tracing their descent and including a portrait of the present head of the family (Rieu 1879, vol. 1, pp. 302-3). The British Library’s copy is dated 1830 with 38 paintings and begins with a dedication (f.3v) in four baits of Persian verses to Skinner’s friend Sir John Malcolm (1769-1833), who had just retired as Governor of Bombay, together with an impression of Skinner’s seal with his titles Nasir al-Dawlah Kirnil Jams Iskinar Bahadur Ghalib Jang (‘Defender of the State, Colonel James Skinner, Lord, Victorious in War’) and the date 1830. These were the Mughal titles which were given on 3 May 1830 to Skinner by the Emperor Akbar II and which are repeated beneath the portrait of Skinner himself on the facing page.
Dedicatory verses to Sir John Malcolm, with Skinner’s Persian seal (British Library Add.27254, f. 3v)
The manuscript is beautifully bound and presented and rarely for an Indian manuscript is decorated round the fore-edge, top and bottom of the text block with decorations.
Decorations on the top of text block (British Library Add.27254)
Another illustrated copy of the same work has a different verse dedication to one Watkin, again on a page with Skinner’s seal, and is now in the Chester Beatty Library (Leach 1996, no. 7.133, p. 726-41). This is also dated 1830 and has 37 portraits listed but actually contains only 33 and does not include a portrait of Skinner. Watkin is presumably the J. Watkins whose signature is on a flyleaf and is probably Lt. Col. James Watkins, who retired from the Bengal Army in 1838. His regiment was based at Ludhiana during the 1830s and he must often have passed through Delhi or Hansi. Another copy dated 1836 has recently appeared from the famous manuscript and early book collection of the Yates, Thompson and Bright families (Christie’s, London, 16 July 2014, lot 39). This has 39 paintings; it lacks the opening portrait of Skinner, but has one of the Malcolm version’s double portraits in two separate paintings, and also has a portrait of Raja Balwant Singh of Bharatpur at the end, who is not noticed in the 1830 manuscripts. The portraits are very much the same in each of these three versions except that the other two sometimes lack the beautiful architectural backgrounds of the Malcolm version or are in mirror reverse. Unillustrated versions also exist (e.g. BL Add.24051, dated 15 April 1830). The paintings would seem to have been added to existing copies of the text when needed for gifts. The scribe of the Yates-Thompson-Bright version, Muhammad Bakhsh, is very possibly the unnamed scribe of the British Library version.
The paintings come from different stylistic backgrounds, some being new versions of older Rajput paintings in that style, others being newly minted in the latest style of Delhi. The portrait of Skinner himself (above) is in this latter style. Seated in a black japanned chair placed on a carpet and nearly full face, he wears the uniform of the colonel of his regiment as well as his CB star given him by Lord Moira in 1815. It may be attributed with some confidence to Ghulam Murtaza Khan, to whom Skinner wrote in 1834 commissioning a portrait and describing the artist as the ‘counterpart of Mani and Bihzad’ (Losty and Roy 2012, p.227).
The iconography of Skinner’s portrait is somewhat different from the others. The opening Rajput portrait (f. 8v), of Maharana Jawan Singh of Udaipur (reg. 1828-38), is more typical of the Delhi manner: it shows the subject seated on a carpet smoking a hookah with bolsters and cushions behind him and a young attendant fanning him, with a background view out to a terrace and a garden (ibid., fig. 162). This is very different from the sort of portraiture practised at this time at the Udaipur court. The portrait of Raja Kalyan Singh of Kishangarh is similarly treated, but this is easier to explain.
Raja Kalyan Singh of Kishangarh (b.1794, reg. 1798-1832, d. 1839). Delhi, c. 1830. 20 x 13 cm (British Library Add.27254, f. 63v)
Kalyan Singh succeeded as a minor in 1798, but after he came of age was unable to resolve disputes with his nobles and fled to Delhi where he spent most of his time. Here he seems to be in his 30s and has obviously been portrayed taken from the life during his self-imposed exile in Delhi. Here the artist has combined a beautifully detailed Mughal pavilion with a typically European curtain swag derived from the type of portraits done by British artists in India. Many of the Rajput nobility, at least those who were not too far from Delhi, would seem to have maintained houses in the city and hence could be portrayed in contemporary fashion.
Maharaja Jagat Singh II of Jaipur (reg. 1803-18). Delhi, c. 1830. 2- x 13 cm (British Library Add.27254, f. 68v)
Typical of the more old-fashioned Rajput portrait (including those of Jodhpur and Bikaner) is that of Maharaja Jagat Singh II of Jaipur, showing him standing in profile, his jama flaring out at the hem, and holding a long sword. Several of these portraits are of rulers already deceased in 1830, but in this case Jagat Singh had a posthumous son, Jai Singh III, born in 1819, so that perhaps portraits of so young a prince were not readily available. Skinner follows his account of Jaipur with notices of fifteen of its thikanas or tributary states, an area of research yet to be tapped.
Maharaja Ranjit Singh of the Punjab (reg. 1799-1839). Delhi, 1830. 20 x 13 cm (British Library Add.27254, f. 176v)
Skinner’s text includes accounts of all the contemporary Sikh rulers, beginning of course with Maharaja Ranjit Singh himself. By 1830, his appearance was well known and our Delhi artist has been able to produce a good likeness of him, albeit playing down somewhat his blind left eye. He is seated on a hexagonal gold throne which may be an attempt to render the Maharaja’s actual golden throne now in the V&A. This has the shape of two octagonal tiers of lotus petals, the traditional seat of Hindu deities, which our artist has perhaps attempted to suggest by portraying Ranjit Singh seated in one of the traditional postures of Hindu deities. Instead of the divine attributes, he bears instead those of a warrior – sword, dagger, shield, bow and arrows. Otherwise the setting is that of a refined Delhi interior with a view to the terrace and curtain swags.
Maharaja Karam Singh of Patiala (reg. 1813-45). Delhi, 1830. 20 x 13 cm (British Library Add.27254, f. 197v)
Other Sikh rulers described in Skinner’s text include those of the major Cis-Sutlej states Patiala, Jind, Nabha and Kapurthala, all of which accepted British suzerainty in 1809 rather than risk be swallowed up in Ranjit Singh’s still expanding empire. Karam Singh ruled the largest territory of the Cis-Sutlej chiefs as suggested perhaps by his large and sprawling person in this portrait. As if to contain him, the artist closes the vista with an arcaded wall behind him. Karam Singh was very helpful to the British in the Anglo-Nepal war of 1814-15 and received in reward a large tract of the Himalayan foothills below Simla.
Whereas the history of the major Sikh princely states is well known, many of the small ones disappeared in the first half of the 19th century. These include all those established in what is now northern Haryana, which in British India were in the Punjab districts of Ambala and Karnal. James Skinner notices several of these small Sikh states, which were his neighbours to the north from his base in Hansi, including Kaithal, Kalsia, Radaur, Ladwa, Jagadhri and Buria along with portraits of the incumbent rulers. These small states were founded in 1763 after Sikh warriors fled south across the Sutlej to escape the carnage wrought on the Punjab proper by Ahmad Shah Durrani. When the land around Delhi was parcelled out after the British victory over the Marathas in 1803-05, these small rulers like their larger neighbouring ones were confirmed in their status and privileges, reinforced again in 1809.
Bhai Uday Singh of Kaithal (reg. 1819-43). Delhi, 1830. 20 x 13 cm (British Library Add.27254, f. 204v)
Bhai Uday Singh (reg. 1819-43), as with others of the rulers of Haryana and the Punjab, appears to have been painted from the life, as the melancholy ruler sits amidst his cushions, a magnificent Kashmir shawl round his waist, holding his sword upright with his katar and shield on the rug beside him between two stylized vases of flowers. The artist has absorbed enough of European portraiture to depict the carpets in perspective and to provide a standard column, but he also provides other more mysterious uprights and diagonals of undisclosed purpose. Horizontal bands of saturated colour set off the whiteness of the Bhai’s gown. Perhaps the Bhai’s apparent melancholy is owing to his childless state, since after his death in 1843 his state lapsed to the British.
Rani of the late Rup Singh of Radaur. Delhi, 1830. 20 x 13 cm (British Library Add.27254, f. 227v)
One of the most striking of the pictures is the only female portrait in the manuscript. Radaur is one of the small former Sikh states in the Ambala district, but its history is as yet very obscure. Nonetheless, the Delhi artist has lavished his invention on the widow’s portrait, showing her seated in a richly ornamented window arch in the zenana with a bed behind her, and producing a sumptuous array of colours in the lower part of the painting contrasting with the cool grey of the decorated plaster work above.
Skinner ends his survey of princely families with four states under Muslim rule. Two of these, Farrukhnagar and Dujana, are just west of Delhi and were established like Jhajjar (Losty and Roy 2012, pp.230-2) from land grants to Afghan military chiefs helpful to the British 1803-05. The portrait of Nawab Zabita Khan, who held land round Rania now in western Haryana (ibid., fig. 163), is the only one in Skinner’s manuscript which is based on a portrait from the Fraser Album.
Nawab Dalil Khan of Bahawalpur. Delhi, 1830. 20 x 13 cm (British Library Add.27254, f. 262v)
Skinner concludes with the large state of Bahawalpur on the left bank of the Sutlej and Indus, although the portrait of the ruler labelled Nawab Dalil Khan is enigmatic. The ruler should have been either Nawab Sadiq Khan II (reg. 1809-26) or Bahawal Khan III (reg. 1809-52). The portrait’s composition seems based on one from earlier in the 18th century, but no Nawab Dalil Khan seems known from that time. The text of the Tazkira has never been published or translated and its on-line digitisation will surely be welcome not just to admirers of late Mughal Delhi but also to historians of early 19th century India. Follow these links for the online digitised version and a complete description of the manuscript and illustrations.
Further reading:
Archer, M., and Falk, T., India Revealed: the Art and Adventures of James and William Fraser 1801-35, Cassell, London, 1989 Dalrymple, W., and Sharma, Y., Princes and Painters in Mughal Delhi, 1707-1857, Asia Society, New York, 2012 Hastings, 1st Marquess of, The Private Journal of the Marquess of Hastings, K.G., ed. by the Marchioness of Bute, London, 1858 Leach, L.Y., Mughal and Other Indian Paintings in the Chester Beatty Library, Scorpion Cavendish, London, 1995 Losty, J.P., Delhi: Red Fort to Raisina, Lustre Press Roli Books, New Delhi. 2012 Losty, J.P., and Roy, M., Mughal India: Art, Culture and Empire – Manuscripts and Paintings in the British Library, British Library, London, 2012 Rieu, Charles, Catalogue of the Persian Manuscripts in the British Museum, London, 1879-83 McBurney, N.G., The 1836 Tazkirat al-umara of Colonel Skinner, London, Bernard Quaritch Ltd, 2014. 2 vols with 49 colour illustrations
Today's guest post by the Islamic art historian Barbara Brend celebrates the completion of a project sponsored by the Barakat Trust to digitise two Timurid manuscripts in the British Library's collection, both thought to be, in part, illustrated by perhaps the most celebrated of Persian painters, Bihzad. Both manuscripts are copies of the Khamsah by Nizami. The later of the two, Or.6810, dating from the end of the 15th century, was digitised some time ago and is the subject of two earlier posts (ʻThe Khamsah of Nizami: a Timurid Masterpieceʼ and ʻA Jewel in the Crownʼ). Add.25900 is the earlier copy. Clicking on the hyperlinks will take you directly to the digital copy and further details including a list of all the miniatures with hyperlinks can be accessed from our Digital Persian Project page.
TheKhamsahof Nizami Add. 25900
The Khamsah (Quintet) of Nizami Add. 25900 is an example of a manuscript produced over time. A volume of princely quality necessarily involved the work of a number of specialists: the scribe probably in overall control of the workshop, binders, illuminators, perhaps painters, possibly even paper-makers unless this essential were bought in. But there might be a failure of patronage: the initiating patron might die, or a political upheaval might scatter the workshop. In these cases a manuscript on which talent, time, and money had already been expended might be put aside and at some later date a new patron would order further work on it.
Shirin looks at the portrait of Khusrau watched by Shapur (British Library Add. 25900, f. 41r)
The Khamsah has a colophon dated 846/1442; its last private owner is named in a note on the fly-leaf, “James R. Ballantyne, Nov. 1837”. Ballantyne (1774-1864) was a distinguished Scottish orientalist who worked in India from 1845 to 1861, subsequently becoming Librarian to the India Office. One illustration in the Khamsah is usually considered, on stylistic grounds, to have been painted in Herat at the time of the colophon. It shows “Shirin contemplating the picture of Khusrau” (f. 41r). For the third time Shapur, the friend of prince Khusrau, has hung his portrait on a tree in the mountain pastures where the princess Shirin disports herself with her ladies. The ladies have destroyed the first two pictures, but Shirin, already entranced by the first picture, herself moves to take possession of the third. The ladies, whose gestures indicate a degree of concern, have the pale and elegantly drawn faces characteristic of Herat painting on the 1440s; the face of Shirin, however, has been repainted with more emphatic features and an impression of volume in India in the time of Ballantyne. From the upper left Shapur observes the effect of his painting; he is concealed amongst rocks in which the painter of the 1440s has taken advantage of Chinese conventions of shading to introduce faces of grotesques, which also give an impression of volume, and thus the very opposite of the faces of the ladies.
Bahram Gur kills the dragon. Ascribed to Bihzad in the margin of the lower text panel (British Library Add. 25900, f. 161r)
Half a century later, in or around 1490, fourteen illustrations were added in Herat. “Bahram Gur slays a dragon” (f. 161r) is of this period. The young prince Bahram Gur is a great hunter, particularly of the gur, the onager or wild ass. With a wealth of detail usually bestowed on the description of a beautiful young woman Nizami describes a female onager that catches Bahram’s attention. The prince follows her and she leads him to the cave of a dragon. Bahram slays the dragon, slits it open and finds the onager’s foal inside. She then leads him on to a treasure that the dragon was guarding, and she vanishes. The illustration bears an attribution to the great artist Bihzad, written vertically in the lower text panel. It does not convey the sense of perfected design that we sometimes associate with the work of Bizhad, but it does demonstrate a keen imaginative sympathy. The strongly coloured group of prince and horse are evidently dynamic, but the prince looks very young and his horse is tense and awkward: the prince could be anyone facing up to a challenge, for instance an artist undertaking the depiction of a subject. The mother onager is portrayed as something more than an ordinary animal: the painter seems aware of the poet’s description; he shows both the onager’s eyes, which slightly humanizes the face; and he places her just behind the horizon in the position traditionally used for observers. The dragon, on the other hand, does not engage our sympathies; it remains entirely other. There is, however, a strong sense of its movement as it creeps down from its high cave entrance, with the hint that there is a great deal more of its length to emerge, and perhaps even an impression that the part we already see is heavy with the foal it has eaten.
Mahan confronted by demons finds his horse transformed into a seven-headed dragon (British Library Add. 25900, f. 188r)
From the same book of the Khamsah, Haft Paykar (Seven fair Forms) is “Mahan confronted by demons” (f. 188r) from the story told to Bahram Gur in the Turquoise Pavilion. Already a rich young man, Mahan has been lured into seeking greater wealth and has found himself in a desert place confronted by demons with the heads of elephants and bulls, who carry flames. Further to this, the very horse that he was riding has sprouted wings and become a seven-headed dragon. The Herat painter—is this again Bihzad, working in a slightly different mode, or is it another?--gives the subject a slightly comic treatment that does not detract from its fundamental seriousness. With the clarity of late fifteenth-century Herat painting the demons, individualised as precise shapes, form a “road block” down the left-hand side. As in the previous picture, the rider-and-mount group is differentiated from the rest by strong colour; but here they do not press forward, instead the dragon heads turn on Mahan who strains backwards. The only element that moves forwards is the serpentine tail behind Mahan, while the dragon’s wings seem to hold Mahan like a vice.
Nushabah recognises Iskandar from his portrait (British Library Add. 25900, f. 245v)
Evidently the manuscript was transported to Tabriz, when this was the centre of Safavid rule, as four illustrations were added in 1530s or early 1540s. In this, the grandest of the four, Iskandar (Alexander the Great) has come to visit Nushabah, queen of Barda, in the guise of his own ambassador (f. 245v). Nushabah sees through his pretence and demonstrates the accuracy of her perception by showing Iskandar a picture of himself. With its rocky foreground, this illustration still recalls Herat painting, but Iskandar’s turban, with its bold plumes and the elongated shape caused by its wrapping round a cap with a high central projection, proclaim the Safavid context—as do the turbans of various male attendants who, according to the text, should properly be female. Nushabah may not claim our attention at first, but gradually she does, wearing rather more red than Iskandar, enthroned and sitting in a royal pose, gesturing to the picture that shows she is not mistaken, the whole framed in a magical architecture.
In two recent posts I examined a largely unpublished album of 18th century paintings associated with the Deccan and with the Maratha courts and prior to those posts a newly acquired portrait of Ikhlas Khan, the African minister of the Bijapur sultans. In this new post I want to look at some other Deccani items acquired since the publication of the Falk and Archer catalogue of Indian miniatures in 1981. The first is associated with the artist Muhammad Khan, who is well known for his portraits of Sultan Muhammad ‘Adil Khan of Bijapur (reg. 1627-57) and notables of his court. Two of these portraits are in the British Library (Johnson Album 1,9 and Add.Or.2770, see Falk and Archer 1981, nos. 405-406), while others are in the British Museum and in collections in India and the USA (Zebrowski 1983, pp.127-31). He signs himself as the son of Miyan Chand, presumably another artist, none of whose work is now known. Not at all known is the work of his son, Muhammad Husayn, one of whose works was acquired for the collection in 1985. This is a head and shoulders portrait of the Mughal Emperor Jahangir (reg. 1605-27), a version of one of the bust portraits of that emperor done in the Mughal court during his reign.
The Emperor Jahangir. By Muhammad Husayn, son of Muhammad Khan. Bijapur, 1660-70. Opaque water-colour with gold. Oval: 112 by 78 mm. Add.Or.4243.
It is inscribed in Persian on the gold rim of the oval: Mashq-i Muhammad Husayn ibn Muhammad Khan Musavvir (‘copy by Muhammad Husayn son of Muhammad Khan the painter’). This appears to be the first reference to Muhammad Khan’s son also being a painter. It is certainly not the equal of his father’s work, but then it may of course be the work of an apprentice as suggested by the unusual term mashq (i.e.copy).
Another copied painting acquired in that same year is also linked with Bijapur. This shows the founder of the Bijapur dynasty Sultan Yusuf ‘Adil Shah (reg. 1509-11) enthroned with the next four monarchs of Bijapur and being handed the key of royal authority by a Persian figure. To his right, and slightly smaller and below him, are kneeling his two immediate successors Isma’il (d.1534) and Ibrahim I (d.1557), and likewise to his left are ‘Ali I (d.1579) and Ibrahim II (d.1626). Attendants behind carry parasols above the sultans. The painting is by a Deccani artist, apparently about 1750, after a lost Bijapuri original of c.1610. It is inscribed on a cover sheet in Persian: Majlis-i ‘Adil Shah badshah ma’ah nazdikan (‘assembly of King Adil Shah with his relatives’).
The first five Sultans of Bijapur. By a Deccani artist, c.1750, after a lost Bijpur original of c.1610. Opaque water-colour with gold. 180 by 272 mm. Add.Or.4242
A larger version of this scene including all the Bijapuri Sultans up to the last one Sikandar (reg. 1672-86) is in the Metropolitan Museum of Art, New York (Zebrowski 1983, pl. XVII). The New York version would appear to be an accession portrait linking Sikandar with his ancestors back to the founder of the dynasty, who is receiving the keys of royal authority from his Shia co-sectarian Shah Isma’il of Iran. Our painting would appear to be after a painting that is not an accession portrait but a statement of Ibrahim II’s royal authority, since he is painted fully mature and with a beard; the original would have been the beginning of a tradition of such paintings which added each new ruler at the appropriate time.
A well-known painting showing a lady lying pining on her couch for her absent lover is one of the most important paintings from Hyderabad in the Richard Johnson Collection.
A lady pining for her absent lover. Hyderabad, c. 1740-50. Opaque pigments with gold and silver. 215 by 150 mm. Johnson Album 50, 4.
The duenna bends down to whisper to the recumbent lovelorn lady about her absent lover, perhaps suggesting his imminent arrival, while her two maids look at each other knowingly. There is real interaction between the two pairs of women. The scene is set at night with a full moon and a pair of white cranes starkly silhouetted against the dark background, while the lady’s agitation is suggested by the breeze ruffling the canopy. Even the cranes seem to have paused in their flight to comment to each other on the goings-on below them.
A lady pining for her absent lover. Hyderabad, c. 1740-50. Brush drawing with gold. 170 by 132 mm. Add.Or.5695.
A closely related drawing was acquired in 2010. The attention to detail in this lively drawing makes it look very finished and not at all a preliminary drawing for anything else. The artist, being unable to suggest night-time, has substituted clumps of plants, all waving in the breeze that agitates the folds of the canopy above. Delicate designs on the textiles of bedcovers and clothes substitute for the vibrant colours of the painted version.
An album of 75 portraits (Add.Or.4396-4470) depicting principally the courtiers and ministers of the Nizams of Hyderabad ‘Ali Khan (reg. 1762-1803) and Sikandar Jah (reg. 1803-29) was acquired in 1989. It was assembled originally in Hyderabad in the early 19th century, refurbished about 1900 and presented in 1915 by Nizam Mir Usman ‘Ali Khan to the Viceroy Lord Hardinge. Inscribed on the fly-leaf is: To His Excellency Lord Hardinge of Penshurst Viceroy of India (with all good wishes) from Mir Usman ‘Ali Khan Nizam of Hyderabad 15th June 1915.
The album is particularly valuable for the large number of portraits and notables of the court of Hyderabad about 1810 in the time of Nizam Sikandar Jah (reg. 1803-29), during whose reign most of the portraits as well as those of earlier rulers seem to have been painted. These greatly supplement in this respect the collection of Henry Russell, Resident at Hyderabad 1811-20 (Add.Or.1912-47, Falk and Archer 1981, no. 434). An exception is the portrait of Nizam ‘Ali with his chief minister Aristu Jah in a larger format, which together with three portraits of notables of Nizam ‘Ali’s court in the same format are about 15 to 20 years earlier.
Nizam ‘Ali Khan, Nizam of Hyderabad (reg. 1762-1803), seated on a terrace with his minister Aristu Jah. Hyderabad, c.1790. Inscribed below: Nawab Nizam ‘Ali Khan Bahadur. Opaque pigments with gold. 217 by 125 mm. Add.Or.4411.
The minister is almost certainly ‘Azim al-Umara Aristu Jah (d. 1804). His portrait is the same as that in the Victoria and Albert Museum identified as Aristu Jah (I.S. 163-1952, see Zebrowski, Deccani Painting, fig. 247, who misidentifies him as the chief minister of Nizam Sikandar Jah). Despite his reputation as a wily politician, he was responsible for the disaster at Khardla in 1794 that befell the Hyderabadi forces in their encounter with the Marathas and spent two years imprisoned in Pune.
Finally in this brief selection is this delightful equestrian portrait of Lieutenant John Gustavus Russell, acquired in 1992. Russell is accompanied by sowars of the Kurnool Irregular Horse, and is riding in a flowery landscape in front of a Muslim tomb typical of Kurnool architecture. Inscribed on the wooden back-plate of the frame is: Blacklock an Arab Horse I had ten years. Never lost a 1st Spear out Hog hunting when I rode him.- I spent £50 for him as a 3 year old and refused £300 when in his prime.- Dead. Rosie a terrier my Constant Companion halting or travelling for 14 years, she is Still Alive. John G Russell. 4 April [18]53. P.S. The drawing is made by a native. The horse & dog are right - but the rider not - I did not sit for it.
Lt. John Gustavus Russell with sowars of the Kurnool Irregular Horse. By a Kurnool artist, c.1850. Water-colour with gold. 24 by 34 cm. Add.Or 4661
Kurnool, some 120 miles south of Hyderabad, became in the 18th century semi-independent under its own Pathan Nawabs. It was captured by Haidar ‘Ali of Mysore, and in 1799 was given to the Nizam at the division of Tipu Sultan's territory. It was ceded by him to the East India Company in 1800, although the Nawabs were left in charge in return for a tribute to Madras. The last of them was judged guilty of treasonable activity in 1838 and the territory was annexed, although left in the charge of a British Commissioner and Agent until 1858 rather than under the normal Collector and Magistrate of British India. The arts flourished under the Nawabs and an offshoot of the Hyderabad style of painting can be located there (Zebrowski 1983, pp. 272-3). In the 19th century Kurnool produced paintings on leather of both Hindu and decorative subjects, but this painting by Kurnool artist would seem to be a rare instance of a Deccani ‘Company’ painting. The artist has combined a delicate Deccani approach to landscape with the more naturalistic traditions associated with European portraiture.
John Gustavus Russell (b. 1817) first served in the 29th Madras Native Infantry in 1838 when based at Jalna near Aurangabad in the Nizam’s territory. By 1846 he was placed in charge of a portion of the Kurnool Irregular Horse, a cavalry regiment formed from the numerous Pathan retainers of the Nawabs of Kurnool after the last one was deposed in 1838. He remained in Kurnool until 1858, from 1849 as Assistant to the Governor of Madras's Agent at Kurnool, himself acting as Agent from 1856-58. He was promoted to Captain in 1856. The role of Agent was abolished in 1858, when Kurnool was treated like a regular Madras District for the first time, and Russell from 1859-61 acted as Paymaster to the Malabar and Kanara Force, and then the Nagpur Force; he retired early with the rank of Major on 1 October 1861.
Further reading:
Falk, T., and Archer, M., Indian Miniatures in the India Office Library, Sotheby Parke Bernet, London, 1981
Visitors to the Sir John Ritblat Gallery: Treasures of the British Library may have encountered our display of Indian paintings next to the entrance to the Magna Carta. As part of the conservation programme, the paintings are rotated every few months. If you missed the display on the portraits of rulers of Rajasthan, you can still view a selection on the Asian and African Studies Blog.
Selecting paintings to display is no easy task: the library’s collection holds a diverse range of Indian paintings that date mainly from the 16-19th centuries. Popular genres and themes for the display can be drawn from portrait studies, illustrations to literary themes, religious subjects and from the 19th century onwards on architecture. In consultation with exhibitions and conservation, the selection is placed into the gallery.
The theme for the current selection is ‘Art of the Book’ and includes elegant visualisations of the ever so popular Hindu deity Krishna with his beloved Radha, Prince Rama and his brother Lakshman pinned by serpentine arrows, and illustrations to the Indian classical music known as ragamala (garland of musical modes). Some of the highlights are featured below:
Rama and Laksmana are pinned by serpentine arrows. By a Pahari artist from Bahu or Kulu, from the Shangri Ramayana, Style III, circa 1700-10. 186 by 290 mm; page 215 x 316 mm. Add.Or.5696, acquired 2010. - See more at: http://britishlibrary.typepad.co.uk/asian-and-african/2014/01/pahari-paintings-at-the-british-library.html#sthash.Kf5yXor6.dpuf
Vasanta Ragini, Murshidabad (Bengal, India), c. 1760. Johnson Album 36,8.
The Sir John Ritblat Gallery: Treasures of the British Library hosts a permanent free display of the library's greatest treasures. It is usually open 7 days a week.
Additional material held in the Visual Arts department at the British Library can be viewed by appointment in the Print Room (Asian & African Studies Reading Room). Please email [email protected] for an appointment. The Print Room is generally open Monday-Friday, from 2-5pm.
How did a fourteenth century illustrated ‘Treatise on the Art of Riding and using the Instruments of War’ [نهاية السؤل والامنية في تعلم أعمال الفروسية] end up in the British Library’s Arabic manuscript collection? A ‘Nincumpoop’ of the Napoleonic era, who moonlighted as an antiquarian, holds the answer.
This strikingly illustrated manuscript, Add.18866 (currently undergoing digitisation by the BL/Qatar Foundation Partnership), probably originates from Egypt or Syria. It was authored by Muḥammad ibn ‘Īsá ibn Ismā‘īl al-Aqṣarā’ī (d. 1348), and this copy was completed on 10 Muḥarram 773 AH (25 July AD 1371). The manuscript’s title claimed that, in its comprehensiveness, it could nullify all desire for further instruction in the subject.
‘Illustration of four horsemen, each one with a sword and a hide shield, and each one carrying his shield on his horse's croupʼ [صورة أربع فوارس مع كل واحد منهم سيف ودرقة وكل منهم درقته على كفل فرسه] (BL Add.18866, f. 140)
Tracing Provenance
The British Library’s ‘Register of Additional Manuscripts’ states that this item was purchased from the estate of Sir Thomas Reade via a sale at Sotheby’s auction house. It is listed in the 1852 Sale Catalogue as Lot 94, a ‘Treatise on the Art of Riding and using the Instruments of War, with illustrations, beautifully written’.
The sale of Reade’s manuscript Add.18866 to the British Museum. Sotheby and Wilkinson’s Sale Catalogue, 28 January 1852, Lot 94 (BL S.C.Sotheby(1))
The manuscript was the third most expensive item of the two-hundred and sixty lots from his estate, and by far the most expensive of Reade’s Arabic manuscripts. It was purchased on behalf of the British Museum for four pounds, four shillings (equating to four guineas, or £4.20 – about £500 today) by the brothers Thomas and William Boone, specialist antiquarian booksellers with whom the British Museum dealt in the nineteenth century. Prior to this, provenance can be surmised through tracing the life of its former owner.
Thomas Reade in the Army
Sir Thomas Reade (1782–1849) was born in Congleton, England and in 1799 he ran away from home to enlist in the army. Following campaigns in Holland, Egypt and America, as well as postings across the Continent, Reade received many subsequent honours and promotions, culminating in his Knighthood in 1815, aged just thirty-three. This event coincided with the end of his military career and marked a turning point in his life, for, on 29 January 1816, Reade set sail with Sir Hudson Lowe for the remote island of St Helena in the South Atlantic.
Colonel Sir Thomas Reade, C.B. (1782-1849). Unknown artist
Napoleon’s Jailer
According to a biography written by his descendant Aleyn Reade, Sir Thomas was deployed as Deputy Adjutant-General of the troops. Not only was he jailer to the French Emperor Napoleon Bonaparte – exiled there after the Battle of Waterloo – but he acted as the main intermediary between Napoleon and Lowe, whose relationship was famously strained.
Whilst Count Montholon (who accompanied Napoleon to St Helena and was later suspected by some to have poisoned him) spoke favourably of Reade, as did Lieutenant Clifford (a Naval officer who visited the island in 1817), he was not popular with everyone. Gorrequer, Lowe’s Aide-de-camp and acting military secretary, referred to him in his diary by various derogatory pseudonyms including ‘Nincumpoop’ and ‘Ninny’. However, in spite of the rumours and controversy regarding Lowe’s alleged ill treatment of Napoleon, Aleyn Reade argues that the exiled Emperor appeared to have liked or at least favoured Sir Thomas.
Life in Tunisia
Following Napoleon’s death in 1821, Reade returned to England. He was appointed Consul-General of Tunis on 5 June 1824 (London Gazette of that date), and married Agnes Clogg on 9 September that year. In Tunisia in addition to his main charge of defending against the French, his most notable achievement came in 1842 when he successfully influenced the Bey (monarch) of Tunis to abolish slavery throughout his dominions.
He remained in Tunis until his death from cancer in 1849 and was honoured with an impressive public funeral, which, as his obituary states, was ‘celebrated with solemnity and pomp’. It was Reade’s professional standing and foreign postings that enabled him to collect manuscripts, but the life he led outside of his official duties sheds more light on why he acquired them.
Reade the Collector
Like many high-ranking British officers of his day Reade was also a scholar and antiquarian. He studied and collected Carthaginian and Romano-African antiquities and zoological specimens, published papers and excavated among the ruins at Carthage at his own considerable expense. Many of the artefacts he unearthed were given to the British Museum, a practice that was common at the time, but would be a complicated diplomatic issue today. This was part of the less official, but equally destructive looting by colonial officials of the treasures of the greater empire. It is very probable that Reade acquired possession of al-Aqṣarā’ī’s manuscript at this stage of his career.
‘Illustration of a horseman with a sword in his right hand, its blade on his left shoulder and a sword in his left hand whose blade is under his right armpitʼ [صورة فارس ومعه سيف في يده اليمنى وذبابة على كتفه الأيسر وفي يده اليسرى سيف وذبابة تحت إبطه اليمنى] (BL Add.18866, f. 132v )
Unfortunately, this is where the trail runs cold. Exactly where, when and from whom Reade obtained this striking volume is unlikely to come to light. However, the personal interest of a high profile official in ancient antiquities allows us a small insight into the manuscript’s path to the British Library, where it now forms one of the highlights of the Asian and African Studies collection. A detailed catalogue description is available here.
Sources
London, British Library, Department of Western Manuscripts departmental archive: Register of Additional Manuscripts, February 1851 – July 1861.
‘Catalogue of a Valuable Collection of Oriental Books and Manuscripts; including many, the Property of the Late Sir Thomas Reade’, Sotheby and Wilkinson Sale Catalogue, 28 January 1852, pp. 1–16, and accompanying annotations. In BL S. C. Sotheby(1): Auctioneersʼ archival set of Sotheby’s sale catalogues, 20 Jan 1852 to 16 Feb 1852.
Anon, ‘Sir Thomas Reade, C. B.’, The Gentleman’s Magazine, (September 1849), pp. 316–7.
Herbert John Clifford, ‘A Visit to Longwood: copied by his great-grand-daughter, M. C. Bernard, from the diary of Lieut. Herbert John Clifford, R. N., 1817 [written on board H. M. sloop Lyra on the homeward voyage from China, whither the Lyra had gone with Lord Amherst’s embassy.]’, The Cornhill Magazine, (November 1899), pp. 665–75.
James Kemble, St Helena During Napoleon’s Exile: Gorrequer’s Diary. (London: Heinemann, 1969).
There are several portraits of the rulers of the Qajar dynasty in the British Library collections, occurring either as manuscript illustrations or separate paintings, but there are comparatively few examples of their predecessors the Zands who ruled Iran from 1751 until 1794.
One of these is a manuscript copy of a history of the Zand dynasty (Add.24904), the Tārīkh-i gītīgushāʼī (here called Tārīkh-i Zandīyah), by Mīrzā Muḥammad Ṣādiq, which was continued after the author’s death in 1204 (1789/90) by his pupil ʻAbd al-Karīm ibn ʻAlī Riżā al-Sharīf. It was written originally at the request of a later Zand, Jaʻfar Khān (r. 1785-89), intended as a contemporary record of the events of his reign. This volume contains only the section up to the death in 1779 of Karīm Khān Zand, the founder of the dynasty.
Opening of the Tārīkh-i Zandīyah by Mīrzā Muḥammad Ṣādiq (Add.24904, ff.2-3)
A companion volume is Add.24903, a history of the Zands from the end of Karīm Khān’s reign until the defeat and capture of the last ruler Luṭf ʻAlī Khān (r. 1789-94). The author is Ibn ʻAbd al-Karīm ʻAlī Riżā Shīrāzī. Despite the close resemblance of his name to Muḥammad Ṣādiq’s pupil, this work appears to be different from the continuation mentioned above. According to a note at the end, this copy was made for the soldier and diplomat Sir John Malcolm (1769-1833). It is dated Safar 1218 (1803).
Both works were in fact used extensively by Malcolm in his History of Persia and according to the catalogue of the Sotheby’s sale at which they were purchased by the British Museum (Catalogue, p. 17), they were presented to him by the Qajar ruler Fatḥ ʻAlī Shāh himself (r. 1797-1834) while he was Ambassador at his Court [1]. This would have been during Malcolm's 3rd mission to Iran in 1810. Malcolm was on very good terms with the Shah who described him as his ‘first favourite among Europeans’ and made him a Sipahdār ('general) of the Persian army, granting him the order of the Lion and the Sun (Lambton, p. 100). Both manuscripts include richly illuminated openings in addition to exceptional contemporary lacquer bindings decorated with named portraits of the Zand rulers and their courtiers, all sporting typical Zand turbans. We are told in the sale catalogue that ‘These specimens of Oriental binding are in the finest state of Bibliopegistic art, and of rarest occurrence, being only to be found on books given by the Shahs in presents’.
Karīm Khān surrounded by his family and courtiers. Early 19th century (Add.24904, outside front cover)
The front cover contains the following portraits (right to left):
Āzād Khān Afghān (d. 1781) one of the main rivals for control after the assassination of Nādir Shāh in 1747 who surrendered to Karīm Khān in 1762 and subsequently became one of his trusted nobles (Malcolm 2, p. 66); Ismaʻīl Khān - presumably blind. There was an Ismaʻīl Khān, Karīm Khān's nephew, who later became governor of Hamadan (Malcolm 2, p. 104); Karīm Khān (r. 1751-79), the founder of the Zand dynasty who never himself assumed the title of Shāh, choosing instead to be Vakīl (‘deputy’). With a reputation for clemency and forbearance, he apparently had comparatively modest tastes preferring to sit on a rug instead of a throne; Ibrāhīm Khān, Karīm Khān’s 5th son ‘deprived of his virility’ by his cousin Akbar Khān (Malcolm 2, p. 89); Mīrzā Jaʻfar Vazīr, minister of Karīm Khān; Mīrzā Mahdī; Mīrzā ʻAqīl
Ṣādiq Khān surrounded by his family and courtiers. Early 19th century (Add.24904, back cover)
The back cover contains the following portraits (right to left):
Mīrzā(?)…Khān… (illegible); Akbar Khān (d. 1782), son of Karīm Khān’s half-brother, who in 1782 defeated and killed Ṣādiq Khān and all his sons (except Jaʻfar Khān - see below). He was himself subsequently blinded and killed by Jaʻfar Khān in retribution (Malcolm 2, pp. 99-100); Ṣādiq Khān (r. 1779-81), the 5th Zand ruler and Karīm Khān’s brother who was defeated, blinded and killed by Akbar Khān (above); Unnamed prince(?); Mīrzā Ḥusayn Vazīr, ‘a wise and popular minister’ (Malcolm 2, p.104) of Jaʻfar Khān and afterwards his son Luṭf ʻAlī Khān, with pen-box tucked under his arm (see also below); Jaʻfar Khān (r. 1785-89), the 7th Zand ruler and sole surviving son of Sādiq Khān (above); Mīrzā Bāqir
Luṭf ʻAlī Khān (left), son of Jaʻfar Khān, the last of the Zands, defeated in 1794, blinded and put to death on orders of his successor Aghā Muḥammad Khān Qājār (r. 1794-97) whose portrait with Hājī Ibrāhīm (Governor of Shiraz who turned against Luṭf ʻAlī Khān ultimately bringing about his downfall) is included on the front cover of this volume. Luṭf ʻAlī Khān is accompanied (right) by his minister Mīrzā Ḥusayn (Add.24903, inside back cover)
Left: outside board of Add.24903. Right: inside board of Add.24904 which is said to be ‘a representation of the Ceiling in the Divan’ (Catalogue, p. 17)
The lacquered book covers, dating from around 1803, no doubt reflect idealised rather than historical scenes, but the Library does also have a portrait of Karīm Khān which was painted by a contemporary artist. It is one of 23 paintings purchased 15 May 1894 from Sidney Churchill (1862-1921), Persian Secretary to Her Majesty's Legation at Teheran 1886-94, who altogether acquired more than 200 Persian manuscripts for the British Museum. The portrait of Karīm Khān is inscribed on the back, presumably by Churchill, ‘Contemporary portrait said to be of Kerim Khan Zand’. Churchill had a personal as well as professional connection with the Court since his sister-in-law was the daughter of Dr Joseph Tholozan (1858-97), personal physician to Shah Nāṣir al-Dīn Qājār (r. 1848 -1896). It is probable that this portrait was a personal gift.
Contemporary portrait of Karīm Khān, founder of the Zand dynasty (Or.4938, f.1)
Further Reading Charles Rieu, Catalogue of the Persian Manuscripts in the British Museum. 3 vols. London, 1876-83: Add.24904; Add.24903; Supplement. London, 1895: Or.4398 Malcolm, John. The History of Persia, from the Most Early Period to the Present Time. New ed. London, 1829. Vol 2. A. K. S. Lambton, ʻMajor-General Sir John Malcolm (1769-1833) and “The History of Persia”’Iran 33 (1995), pp. 97-109 J. R. Perry, ʻZand dynastyʼ in Encyclopaedia Iranica online Layla S.Diba and Maryam Ekhtiar, eds. Royal Persian Paintings: The Qajar Epoch, 1785-1925. London, 1998. BL S.C.Sotheby(1): ʻAuctioneersʼ archival set of Sotheby’s sale catalogues 1739 to 22 October 1970ʼ. Add.24903 and Add.24904 formed lot 234 of a sale held 26 June 1862, ‘chiefly from the Library of a Collector’. They were purchased by the Museum for £4 8s.
Ursula Sims-Williams, Asian and African Studies
[1] Add.24904 also has the initials J.M. on folio 2r.
In a previous post (April 2014), I looked at the first three paintings in this album and explored the connections between the Maratha court in Poona and Jaipur artists. The remaining five paintings in the album are all from a large Hyderabad-type series of the Rasikapriya, the classic text by Keshavdas on Hindi poetics that the author wrote at Orccha in 1594 for Kunwar Indrajit Singh, the brother of the ruler Raja Ram Shah of Orccha (1592-1605). Although a literary work, it was written in the context of the Vaishnava revival in northern and western India in the 16th century. Keshavdas took the love of Krishna and Radha out of the pastoral settings of the Gita Govinda and placed it in a courtly ambience. He used their relationship to explore all the different kinds of literary heroes and heroines and the erotic sentiment (sringara rasa) in all its variety.
A complete set of illustrations to this text involves several hundred paintings. Our album contains only five such paintings. If there were more, their whereabouts is not now known. Originally the Hindi verses were inscribed in nagari in a separate box above the paintings and text and paintings were contained within gilded and coloured ruled lines, but for some reason the original text panels were cut out and replaced with other panel pasted down from the reverse. The remains of the tops of the original aksaras are visible only on folio 7. The pictures are not particularly specific and their subjects could apply to many of the verses and situations in the text. On the reverse of each folio are inscribed brief Hindi labels for the subject of the painting taken from Keshavdas together with a number different from that associated with the relevant verse in its chapter in the printed editions, and a written out Persian numbering. As noted in the earlier post, all the paintings were at some time removed from their original album pages and let into European paper frames.
Two of the paintings (ff. 4 and 8) have an oversize Krishna as the hero or nayaka, wearing a tall golden crown, which serves to locate the provenance of the paintings as southern, as do the large white palatial buildings in the background which resemble those in the Johnson Hyderabad Ragamala in the British Library of c. 1760 (J. 37, Falk and Archer 1981, no. 426). The style of the paintings will be discussed later after dealing with the subject matter. The inscription on the reverse is here taken as the title of the painting. For the complete text and translation of the verses of the Rasikapriya, along with numerous examples of their illustrations, see Dehejia 2013.
Nayaka ko prakasa biyoga sringara, Krishna’s ‘open’ love in separation (Rasikapriya 1, 27-28). 301 x 217 mm. Deccan, perhaps Aurangabad, 1720-30. British Library, Add.21475, f.4
The verses on folio 4 come from the conclusion of the opening chapter, in which Keshavdas makes some general remarks about the emotion of romantic love and its two major varieties, love in union and love in separation. Keshavdas divides his descriptive verses into ‘open’ (prakasa) or clear and ‘hidden’ (prachanna) or more suggestive. Here the sakhi (confidante) has been to see Krishna and describes him to Radha: ‘He is totally unresponsive and has stopped eating and drinking. All of Braj is concerned about him and you are sitting here unconcerned. Get up and do something about it. This is the result of his longing for you.’ The artist shows Krishna sitting mournful and unresponsive in one pavilion while the sakhi tries to talk to him and then she goes off to find Radha, who is meant to be some way away in another pavilion.
Ajnata yauvana, a youthful maiden unaware of her own flowering. 336 x 257 mm. Deccan, perhaps Aurangabad, 1720-30. British Library, Add.21475, f.5
The term on the reverse of folio 5, ajnata yauvana, a youthful maiden unaware of her own flowering, comes not from the Rasikapriya but from Bhanudatta’s Rasamanjari, an earlier work in Sanskrit on the same topic. Similarly the verse above our painting is not found in Keshavdas’s work, where the relevant verses (3, 20-21) speak about a navayauvana mugdha nayika, a maiden newly grown to adolescence. Their purport is the same: her waist is slimmer, her hips have expanded, her gait is more steady but she does not know why this should be so. Chapter 3 of the Rasikapriya deals with the different types of heroine or nayika, which are classified in various ways. The artist shows the maiden sitting by a pool populated by ducks in an extensive meadow while her confidante tries to reassure her about what is happening to her body. A girl standing with flower wands perhaps signifies her impending marriage. In the distance is a white palace set beside a garden.
Nayaka ko prachanna sravana darsana, Radha’s hidden meeting [with her lover] through hearing [his name] (Rasikapriya 4, 15). 331 x 246 mm. Deccan, perhaps Aurangabad, 1720-30. British Library, Add.21475, f.6
The verse for this painting comes from the fourth chapter, on how lovers meet: in person, through a portrait, in a dream or through hearing the other’s name. Radha chides her sakhi for speaking of Krishna for she does not know what to do now that Krishna is so enshrined in her heart. The artist shows Radha sitting under a canopy with her friends in a meadow with what appear to be flamingos in a pond in the foreground.
Radha ko prachanna citra darsana, Radha’s hidden meeting [with her lover] through a painting (Rasikapriya 4, 8). 335 x 250 mm. Deccan, perhaps Aurangabad, 1720-30. British Library, Add.21475, f.7
From the same chapter 4, the nayika can ‘meet’ her lover through seeing his portrait. Radha’s mind was filled with love on seeing her beloved’s portrait, but her shyness caused her to tremble. She is shown holding a portrait and sitting on a carpeted terrace with her friends in front of a palace with flamingos again in the foreground.
Madhya adhira nayika, the plain speaking experienced heroine (Rasikapriya 3, 48). 340 x 250 mm. Deccan, perhaps Aurangabad, 1720-30. British Library, Add.21475, f.8
In chapter 3, heroines can be mugdha, madhya or praudha (adolescent, experienced or mature). The madhya heroine is subdivided various ways, of which one is according to the way she speaks to her lover, which can be dhira, adhira or adiradhira (firmly, harshly or scoldingly). Here the heroine is unable to restrain her indignation at her lover’s fickleness and speaks harshly to him with words capable of two meanings: “Your body is like that of your father [for just as he shakes on account of old age so do you tremble for fear that your secrets will be out]. In strength you resemble your brother Balaram [for just as he is intoxicated with wine you are intoxicated with love]. Your face is like your mother’s [she has a tilak on her forehead and you have a love mark] and just as her mind is full of motherly love you are infatuated with thoughts of love. Your temperament is stable like that of the earth [for you are able to sustain the frailties of others]. Your mind is restless like the wind and pure like water. Your mouth [on account of chewing betel] is red like fire. As is the sky full of space and sound, you who are dark as the cloud and your words that speak of your misdeeds prevail in every home. Like Rati [the consort of Kamdev] is your love [for separation torments you as it affected her]. Your form is pleasing like that of Rati’s lord. Tell me, Lord, how did you learn to speak such lies?” (adapted from Dehejia 2013, p. 60).
The artist sets the scene in the countryside with a pavilion in which Radha is upbraiding Krishna for his fickleness. Beside the stream with its birds and flowers in the foreground a cowherd is milking a cow, with a gopi standingready to churn the milk into butter, while on the hill in the background a prince, presumably meant to be Balarama as he is white, is sitting with a woman. The latter reference is easy to pick up, although there is no sign of wine, but the pastoral activity in the foreground is possibly a reference to Krishna’s being like the earth.
The style of the five paintings in our album relates to eighteenth century Hindu Hyderabadi painting, in which Krishna wears the tall crown typical of that style.
Krishna, a peacock, cows and a devotee. Hyderabad, c. 1770. British Library, J.45,39.
See Falk and Archer 1981, no. 472iv for another example of this style. Some of the most important paintings from 18th century Hyderabad are found in a group of Ragamala sets, of which Richard Johnson’s album in the British Library J.37 is typical.
Vasant raga from the Hyderabad Ragamala, Hyderabad, c. 1760. British Library, J.37, 6.
Exquisite figures male and female disport themselves on palatial terraces or in idyllic visions of the country. This fine set of 36 paintings was collected by Johnson during his appointment as Resident at the court of Nizam ‘Ali Khan in Hyderabad from 1784-85. Nizam ‘Ali (1762-1802) was a patron of music, poetry and painting and Johnson apparently came to know him well, since he was constantly espousing the Nizam’s interests as against those of his superiors in Calcutta which resulted in his early recall. These sets are famous among other things for their perspective views of architecture with semi-naturalistic vanishing points, in contrast to our album paintings where all the buildings are viewed frontally. Nonetheless it is possible to see the resemblances in the architecture: the white chunam-covered buildings tend to have a tall ground storey with smaller pavilions on top. The beautiful canopied pavilion on folio 6 is also found several times in the Ragamala set. Yet the treatment of landscape, flowers and birds do differ, for here in the album the artist is very free. By the 1760s the Hyderabad landscape style was turning harder with conceptualised hills and meadows criss-crossing each other to suggest depth, while our artist takes a more naturalistic approach to recession, as in the exquisite meadow of folio 6 and in the various naturalistic clumps of flowers as opposed to the regimented rows in the Ragamala. More open landscapes were a feature of Deccani painting in the first quarter of the 18th century (see Zebrowski 1983, ch. 11) and it is at the end of that period that our five album paintings seem best placed. Bold distortion of forms in our album as in the overlarge Krishna figure, the tiny steps and minuscule foreground trees are all features found in the earlier style. Only one other painting has so far been identified as related to the style of our five paintings, showing a prince seated on a carpet amidst flowers and miniscule trees in a meadow leading back as in f.5 of our set to white palatial buildings on the horizon. This was formerly in the William K. Ehrenfeld collection in San Francisco (Ehnbom 1985, no. 36, where it is called Golconda, 1660-70) and its whereabouts is not now known.
As to the set’s patron, the fall of Bijapur and Golconda to Aurangzeb in 1686-87 released many of their artists for patronage elsewhere, as is well known for various Rajput courts, but many others stayed locally to work for the local nobility of the former Golconda kingdom as well as for Mughal or Rajput patrons depending on their appointments to positions within the new Mughal subahs of the Deccan. Aurangabad (now in western Maharashtra) remained the principal Mughal capital in the Deccan and even Asaf Jah, the first Nizam of the newly independent Hyderabad state from 1724, was based there before his successors moved the capital to Hyderabad. This distinctness from Hyderabad proper is perhaps reflected in the Hindu costume of skirt, bodice and orhni worn by nearly all the women as distinct from the more Muslim costume (paijama and peshwaj) of the Hyderabad Ragamala sets done later under Nizam ‘Ali’s patronage. A provenance from Maharashtra would thus put the five paintings within the orbit of the Peshwas based at Poona and link them to the other three paintings in the album.
Further reading:
Dehejia, Harsha V., Rasikapriya: Ritikavya of Keshavdas in Ateliers of Love, DK Printworld, New Delhi, 2013
Ehnbom, D., Indian Miniatures: the Ehrenfeld Collection, American Federation of Arts, New York, 1985
Falk, T., and Archer, M., Indian Miniatures in the India Office Library, Sotheby Parke Bernet, London, 1981