Vishnu riding on Garuda, attributable to a master of the early Basohli School, possibly Kripal, Basohli, circa 1660-70

gouache heightened with gold and beetles’ wing-cases on paper, with a red outer border, trimmed

William H. Wolff Inc., New York
Acquired in 1973

Exhibition of Indian Miniatures, William H. Wolff Inc., New York, 1973, no.24

In good overall condition, colours bright, very few minor crease lines (to feet and stomach of Garuda) with associated very small losses, and to sky, minor discoloration to background, as viewed.
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This is a powerful, iconic image of Vishnu, with blue skin and four arms holding a mace, conch shell, discus and lotus bud. He rides astride his mount, Garuda, mythical king of the birds, with head, wings, talons and beak of an eagle and body of a man. Vishnu, the second of the Hindu trinity, the preserver and restorer, takes human form to restore the balance between good and evil by intervening on behalf of the gods and man. The image is a worthy representation of the deity.

The painting is probably by the artist termed "The Master of the Early Rasamanjari Series", possibly Kripal of Nurpur (active c.1660-90). The style here is generally close to the work of this artist, and the specific shape of the nose of Vishnu here can be compared to those of a sub-group within the Early Basohli Rasamanjari series, which are straighter and almost upturned at the end, and protrude far less over the upper lip than most of those in both the Early Rasamanajari series and the Tantric Devi series. Noses of this particular shape can be seen on male figures in the following examples from the series: The Cat and Mouse, V&A IS.20-1958 (Archer 1973, vol.2, p.19, no.4(v); The Resourceful Radha, Victoria and Albert Museum, IS.48-1953 (Archer 1973, vol.2, p.20, no.4(vi)); The Tearful Radha, V&A, IS.78-1953 (Archer 1973, vol.2, p.21, no.4(viii)); The Deranged Toilet, V&A, IS.52-1953, (Archer 1973, p.22, no.4(xiii)); The Abhisarika Heroine, Dogra Art Gallery, Jammu (Goswamy and Fischer 1992, p.48, no.14); Transfixed at the Thought of Her: Eights States of the Hero, Private Collection (Goswamy and Fischer 1992, p.53, no.18; Sotheby's, London, 15 October 1984, lot 122); Mugdha Kalahantarita, Sotheby's, London, 29 April 1992 (The Bachofen von Echt Collection), lot 7.

The style associated with the Basohli Early Rasamanjari series, the Tantric Devi series and other related works is one of the most distinctive and celebrated in Indian painting. Marked by fiery intensity, powerful and direct psychological impact and striking compositions, it emerged in the third quarter of the seventeenth century under the patronage of Raja Sangram Pal (r.1635-73) and continued under his successors. The style and oeuvre of early masters of this school has been studied in detail in recent years, most extensively by Goswamy and Fischer. For full discussions and illustrations of relevant works see Goswamy and Fischer in Beach, Fischer and Goswamy 2011, pp.439-458; Goswamy and Fischer 1992, pp.29-73. See also Archer 1973, vol.1, pp.16-53, vol.2, pp.15.

For a slightly later depiction of this subject, see Poster et al. 1994, pp.238-9, no.192 (Basohli or Nurpur, c.1725 or earlier).