GULER, PUNJAB HILLS, INDIA, CIRCA 1800-10

This painting, with its delicate execution and fine rendering of details – notably fabrics – is in the style typical of the ‘Second Generation after Manaku and Nainsukh’. This refers to the family workshop made up of the sons of the four sons of Nainsukh and two sons of Manaku. The face of our protagonist is very similar to that of Radha in a painting attributed to the youngest son of Nainsukh, Ranjha, attributed to Guler circa 1800 (Paintings for the Pahari Rajas, Francesca Galloway, exhibition catalogue, London, 2020, no. 21, pp. 82-83.). However, the landscape and composition of our painting, with the scene being viewed through a scalloped arch, is very similar to a painting of a family at play attributed by both S.C. Welch and J.P. Losty to a Kangra artist at Datarpur, circa 1800 (A Flower from Every Meadow: Indian Paintings from American Collections, London, 1973, no. 50, p.86; Indian Miniatures from the James Ivory Collection, Francesca Galloway, London, 2010, no.62, pp.144-145). Two further paintings, with similar framing arches and landscapes, attributed to Guler circa 1810-20 and circa 1800 respectively were sold in Sotheby’s, London, 9 October 2013, lot 257 and more recently, 30 March 2022, lot 64.

In Indian literature and art the arrival of the monsoon, indicated here by the cracks of gold lightning snaking through the thick, black cloud is regarded as a romantic and erotically charged event. Doubtless our central lady is at the height of anticipation for the return of her beloved, as her attendants attempt to distract her. The swing, which may indicate the Festival of Teej which occurs at the beginning of the month of Shravan (August-September), here also serves a highly practical purpose as an essential way to keep cool in the stuffy heat.