.jpg?w=1)
.jpg?w=1)
拍品專文
This painting is closely related in size and in composition to one that was formerly part of the Sven Gahlin collection sold at Sotheby’s, 6 October 2015, lot 101. That painting, formerly attributed to Sajnu (active c.1790-1830), has since been re-attributed to Purkhu (active c. 1780-1820) on account of the style and the inscriptions in white above the two figures in the lower right, which also figure on a number of paintings attributed to him in B.M Goswamy and Eberhand Fischer, Pahari Masters, 1992, pp. 382-3, nos. 166-167.
The principal artist at the court of Maharaja Sansar Chand of Kangra, Purkhu was the master of a large atelier. Although there are no known works signed by Purkhu, a number of extensive large-sized series have been associated with him and his family, including several series of the Shiva Purana, the Rasikapriya, the Gita Govinda and the Harivamsa.
The profusion of architecture in the scene is typical of narrative scenes ascribed to Purkhu. Goswamy and Fischer note that while the artist uses diagonals freely, they serve more as design elements rather than to provide a clear sense of spatial depth. A similar effect is displayed in a scene attributed to him from a Sundar Shringar series (Goswamy and Fischer, op. cit., pp.371 and 382, no. 166). That scene, also set at night time employs a similar contrast of the gold within the architecture and the costumes of the figures establishing a particularly atmospheric narrative against the dark ground.
For other paintings attributed to Purkhu and his workshop which have sold in these Rooms, see 2 May 2019, lot 117; 25 May 2017, lots 66, 67, 72; 10 June 2015, lots 69, 71; and 10 June 2013, lots 16, 19.
The principal artist at the court of Maharaja Sansar Chand of Kangra, Purkhu was the master of a large atelier. Although there are no known works signed by Purkhu, a number of extensive large-sized series have been associated with him and his family, including several series of the Shiva Purana, the Rasikapriya, the Gita Govinda and the Harivamsa.
The profusion of architecture in the scene is typical of narrative scenes ascribed to Purkhu. Goswamy and Fischer note that while the artist uses diagonals freely, they serve more as design elements rather than to provide a clear sense of spatial depth. A similar effect is displayed in a scene attributed to him from a Sundar Shringar series (Goswamy and Fischer, op. cit., pp.371 and 382, no. 166). That scene, also set at night time employs a similar contrast of the gold within the architecture and the costumes of the figures establishing a particularly atmospheric narrative against the dark ground.
For other paintings attributed to Purkhu and his workshop which have sold in these Rooms, see 2 May 2019, lot 117; 25 May 2017, lots 66, 67, 72; 10 June 2015, lots 69, 71; and 10 June 2013, lots 16, 19.