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拍品專文
Our painting can be closely compared to another Kota painting, dated circa 1840, which depicts two winged apsaras (celestial beings) or yoginis kneeling before a diminutive shrine in a rocky landscape (Bonhams, New York, 17 March 2014, lot 134). The posture, facial expression and treatment of the two kneeling figures in our painting is almost identical to the aforementioned work.
The iconography of ladies worshipping at a Shiva shrine near a riverbank also suggests that the painting is possibly an illustration to a ragamala series, Bhairavi ragini or Devakari ragini of Hindol raga. The composition is also similar to an earlier painting from Mewar dated to circa 1760, and inscribed Rag Nand Malhar, which depicts two winged ladies at a Shiva shrine. A partially disrobed winged being stands with folded hands on a grassy riverbank while another, in mid-air, heads towards the shrine carrying two garlands. (V. Ducrot, Four Centuries of Rajput Painting, Milan, 2009, ME 45, p.63).
The iconography of ladies worshipping at a Shiva shrine near a riverbank also suggests that the painting is possibly an illustration to a ragamala series, Bhairavi ragini or Devakari ragini of Hindol raga. The composition is also similar to an earlier painting from Mewar dated to circa 1760, and inscribed Rag Nand Malhar, which depicts two winged ladies at a Shiva shrine. A partially disrobed winged being stands with folded hands on a grassy riverbank while another, in mid-air, heads towards the shrine carrying two garlands. (V. Ducrot, Four Centuries of Rajput Painting, Milan, 2009, ME 45, p.63).