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Lot Essay
This illustration is from a large series which W.G. Archer referred to as the ‘Large’ Guler-Basohli Bhagavata Purana series or the ‘Fifth’ Basohli Bhagavata Purana series of 1760-65 (W.G. Archer, Indian Paintings from the Punjab Hills, London 1973, Vol.I, Basohli 22, pp.49-51). The composition of the illustrations and the style of painting exhibit a strong dependence and awareness of the work of Manaku and Nainsukh, sons of Pandit Seu, and the most renowned Pahari astists of this period. B.N. Goswamy and Eberhard Fischer note that the series is often attributed to Manaku’s son Fattu who was taught by his father. Fattu is thought to have lived with his uncle Nainsukh in Basohli for some time and would have, therefore, also incorporated artistic elements from the latter. It is possible that one of Nainsukh’s sons was also involved in the series (Milo C. Beach, Eberhard Fischer, B.N. Goswamy (eds)., Masters of Indian Painting 1650-1900, London, 2011, p.689). Although difficult to firmly attribute the series to any one painter from the first generation after Manaku and Nainsukh, it is evident that a ‘family style’ can be recognised. Basohli was originally suggested as the place of production but it now seems more appropriate to link the series to a group of painters than to a specific place in the Pahari region. For a list of known series and individual works attributed to this remarkable group of painters, see Beach, Fischer, Goswamy, op. cit., 2011, pp.689-694.
The majority of this set was sold at Sotheby’s, London in February 1960 from the collection of Mrs. F.C. Smith. It is now widely dispersed among various public and private collections. The paintings all bear inscriptions on the reverse in takri and Devanagari describing the illustrations. Some have red borders with black rules, others with black and double white rules. The image sizes vary. The earlier folios like ours have images measuring approx. 23 x 33 cm. and the later folios, slightly larger images.
This illustration is from the tenth book of the Bhagavata Purana which describes episodes from the life of Krishna. Dhenukasura, the donkey demon, ruled over a forest of tala or palm trees with his attendant demons, near the banks of the river Yamuna, close to where Krishna and Balarama were raised. All the cowherds, including Krishna, were afraid to enter. On seeing even his brother hesitate to enter the forest, Balarama charged in and shook the trees causing its fruit to fall heavily on the ground. While the gopas gathered the sweet fruit, the sound awoke an enraged Dhenukasura. The demon attacked Balarama and a fight ensued, ending only after Krishna knocked the demon unconscious. Balarama inflicted the killing blow with his fist, and the demon was vanquished. While Balarama is generally acknowledged to be the hero of this episode, the artist of this illustration has chosen to depict Krishna as the central focus.
For other paintings from this series which have sold at auction, see Christie’s, London, 10 June 2015, lots 52-56; Christie’s South Kensington, 10 June 2013, lot 277 and 7 October 2011, lots 394, 395.
The majority of this set was sold at Sotheby’s, London in February 1960 from the collection of Mrs. F.C. Smith. It is now widely dispersed among various public and private collections. The paintings all bear inscriptions on the reverse in takri and Devanagari describing the illustrations. Some have red borders with black rules, others with black and double white rules. The image sizes vary. The earlier folios like ours have images measuring approx. 23 x 33 cm. and the later folios, slightly larger images.
This illustration is from the tenth book of the Bhagavata Purana which describes episodes from the life of Krishna. Dhenukasura, the donkey demon, ruled over a forest of tala or palm trees with his attendant demons, near the banks of the river Yamuna, close to where Krishna and Balarama were raised. All the cowherds, including Krishna, were afraid to enter. On seeing even his brother hesitate to enter the forest, Balarama charged in and shook the trees causing its fruit to fall heavily on the ground. While the gopas gathered the sweet fruit, the sound awoke an enraged Dhenukasura. The demon attacked Balarama and a fight ensued, ending only after Krishna knocked the demon unconscious. Balarama inflicted the killing blow with his fist, and the demon was vanquished. While Balarama is generally acknowledged to be the hero of this episode, the artist of this illustration has chosen to depict Krishna as the central focus.
For other paintings from this series which have sold at auction, see Christie’s, London, 10 June 2015, lots 52-56; Christie’s South Kensington, 10 June 2013, lot 277 and 7 October 2011, lots 394, 395.