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Lot Essay
Of the paintings known from the St. Petersburg Muraqqa’, most were produced between the early 16th century and the end of the 17th century, although there are a few works from half a century either side of this period. Most of the paintings are Mughal - including a few that were intended for the Jahangirnama and the Padshahnama. There are however also two early 17th century Deccani works and twenty Persian paintings, mostly of the late 17th century. Half of the paintings postdate Shah Jahan's rule (r.1628-58) (Elaine Wright, Muraqqa. Imperial Mughal Albums from the Chester Beatty Library, Virginia, 2008, p.474). This painting is likely to have been one of those.
It has been suggested that our painting is the work of the artist Chitarman. In his discussion on the artist, Stuart Cary Welch writes that Chitarman’s style of painting figures was exceedingly formal and that they sometimes had plump fingers tapering elegantly at the tips, as seen here (Stuart Cary Welch, Annemarie Schimmel, Marie L. Swietochowski and Wheeler M. Thackston, The Emperors’ Album, exhibition catalogue, New York, 1988, p.201). A painting by the artist in the Brooklyn Museum shows the Emperors Akbar, Jahangir and Shah Jahan with their ministers and Prince Dara Shikoh (acc.no.1994.42). Like ours that painting shows figures with hard-outlined faces and rounded hands. The sky there, also depicted at dusk, is a similar blend of strong colours. That is dated to 1630-40. Few illustrations by Chitarman are identified but it is thought that his works painted after 1645 are sensitive, controlled and technically traditional, as ours (Milo Cleveland Beach, The Grand Mogul. Imperial Painting in India. 1600-1660, exhibition catalogue, Massachusetts, 1978, pp.111-112). For a full discussion on the St. Petersburg Muraqqa’ please see the following lot.
It has been suggested that our painting is the work of the artist Chitarman. In his discussion on the artist, Stuart Cary Welch writes that Chitarman’s style of painting figures was exceedingly formal and that they sometimes had plump fingers tapering elegantly at the tips, as seen here (Stuart Cary Welch, Annemarie Schimmel, Marie L. Swietochowski and Wheeler M. Thackston, The Emperors’ Album, exhibition catalogue, New York, 1988, p.201). A painting by the artist in the Brooklyn Museum shows the Emperors Akbar, Jahangir and Shah Jahan with their ministers and Prince Dara Shikoh (acc.no.1994.42). Like ours that painting shows figures with hard-outlined faces and rounded hands. The sky there, also depicted at dusk, is a similar blend of strong colours. That is dated to 1630-40. Few illustrations by Chitarman are identified but it is thought that his works painted after 1645 are sensitive, controlled and technically traditional, as ours (Milo Cleveland Beach, The Grand Mogul. Imperial Painting in India. 1600-1660, exhibition catalogue, Massachusetts, 1978, pp.111-112). For a full discussion on the St. Petersburg Muraqqa’ please see the following lot.