AN ILLUSTRATION TO AN AMARUSATAKA SERIES: THE CONTRITE LOVER

Good and stable overall condition. Abrasions to pigments on red folio border and scroll in foreground, clearly visible in catalog illustration. One wormhole and one pinhole on red ground in lower left quadrant also visible in catalog illustration. Abrasions to white pigments throughout. Some rubbing to black pigments above and blue on the left. Losses to pigment on the face of the man and his white tunic with possible retouching. Exhibited in temporary frame.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The present and following two illustrations belong to the Amarusataka (one hundred stanzas of Amaru) a collection of lyrical love poems written by the poet Amaru in the 7th or 8th Century. The scrolling arabesque design in the lower panel is characteristic of illustrations depicting this text executed in the second half of the Seventeenth Century at Malwa.

A Nayaka (hero) in the chamber of a Nayika (heroine) begging her forgiveness for his transgressions. She looks away angrily while demurely holding her veil. She grasps his wrist pushing him away and pulling him closer at the same time. He touches her on the shoulder with a look of concern on his face. A painting of conflicted emotions emphasized by brilliant red and blue compartments, abstracted by rich primary colors. Although the texts are different the Amarusataka and Rasika Priya and Ragamala series (as here Ramkali Ragini) are often visually very relatable.

For another illustration from this series see Sotheby's New York, Important Indian Paintings from the Gloria Katz and Willard Huyck Collection, March, 2002, lot 11 and Alice Heeramaneck, Masterpieces of Indian Painting formerly in the Nasli M. Heeramanek Collections, Verona, 1984, cat. 30-31, pp. 46.