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Lot Essay
After Krishna moves the inhabitants of Mathura to Dwarka, the new city is subject to incessant attacks from Kalayavana and the Yadavas. To protect the city, Krishna challenges Kalayavana to a duel but, due to a boon from Shiva, his opponent could not be killed on the battlefield. Krishna devises a strategy to flee the battlefield, the moment depicted here, towards a cave inhabited by the famed warrior Muchukkunda who had been in a state of slumber for thousands of years with whoever wakes him doomed to be burned to ashes. Krishna places his cloak on the sleeping warrior and Kalayavana mistakes Muchukkunda for his adversary, waking him and being immediately destroyed.
This painting belongs to a known group of dispersed folios from the Bhagavata Purana, recognisable from their large dimensions, rare in Nepali painting, and distinctive red border. The Gurkha dynasty that ruled Nepal claimed descent from the Rajas of Chittogarh, having fled from the Mughals to take refuge in Nepal. Accordingly Rajput traditions and culture was patronised at the Gurkha court. As such, the palette, narrative and depiction of figures seem to relate to central Indian painting. The wonderful aerial view revealing the complex architectural composition in multiple perspectives has parallels with later Mewari court painting (Hurel and Okada, Pouvoir et Desir: Miniatures Indiennes Collextion Edwin Binney 3rd du Dan Diego Museum of Art, San Diego, 2002, pp. 114-115, cat.42).
However, Pal argues that by the 18th century the influence of Pahari and Kangra painting on Nepali art cannot be overlooked in favour of Rajput due to the geographical separation with central India (Pal, The Classical Tradition in Rajput Painting from the Paul F.Walter Collection, New York, 1978, pp.196-197, cat.73.).
For folios from the same series see Simon Ray, Indian and Islamic Works of Art, November 2008, no.65; Princeton University Art Museum (inv.2019-30); Minneapolis Institute of Art (inv.90.27); and The Metropolitan Museum of Art (2019.64). Folios from the series have been sold at Sotheby’s, New York, The Carter Burden Collection of Indian Paintings, 27th March 1991, lots 16 to 19; and Bonhams, London, 23 October 2018, lot 148.