- 138
A LARGE PAINTING OF THE SOUTHERN ELEVATION AND PLAN OF THE SURAJ BHAWAN IN THE GARDEN PALACE OF DIG, COMPANY SCHOOL, RAJASTHAN, CIRCA 1830
Description
- Pen and ink and watercolor
- 26 1/2 x 19 5/8 inches
Condition
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
In the words of Giles Tillotson, the garden palace built about 1760 under the patronage of Suraj Mal is the "most extensive and splendid palace at Dig" (Tillotson 1987, p.188). The Suraj Bhawan, named after Suraj Dal, is one of a group of detached pavilions arranged around a formal garden. As can be seen from the depiction of the facade in this painting, there are panels of pietra dura in imitation of Mughal architecture. The Suraj Bhawan was originally built of sandstone but was cased in white marble, equally Mughal in nature, the stone probably taken from looted Mughal buildings. The bhawan may have been used as a place for Suraj Dal to be entertained by the women of his harem.
Suraj Dal not only benefitted from the architecture of the Mughals, his rise to power took advantage of the collapse of the Empire in the mid-18th century. He came to rule Dig, Bharatpur and even Agra, albeit briefly. He died attacking Dehli in 1763.
In the reverse direction, it was most probably an artist from Agra who travelled to Dig to prepare this painting. Clearly it was a painting intended for a patron with more than a passing interest in Indian architecture. Its pietra dura decoration may have led the artist to think it a Mughal building, but its style is more in a manner termed by Tillotson as `Rajput Mannerism'.