Lot 265
  • 265

THE FIVE JEWELS OF KING LAKSHMANSENA FROM AN UNRECORDED GITA GOVINDA MANUSCRIPT ATTRIBUTABLE TO SAHIBDIN

Estimate
7,000 - 9,000 USD
bidding is closed

Description

  • THE FIVE JEWELS OF KING LAKSHMANSENA FROM AN UNRECORDED GITA GOVINDA MANUSCRIPTATTRIBUTABLE TO SAHIBDIN
  • Opaque watercolor heightened with gold on paper
  • image: 7 3/4 by 5 1/4 in. (17.7 by 12.7 cm)
  • folio: 8 3/4 by 6 3/4 in. (20.3 by 15.2 cm)

Provenance

Acquired 1987

Condition

Some stains and surface abrasions in the upper red ground of the image, with age-related oxidation. A light vertical crack sealed with conservator's reinforcing repairs applied on the verso. Some losses and holes sealed and backed. Verso: age-related dark staining. Paper strip reinforcing at center. Some stains / rust marks and small adhesions. Remnants of conservator's tape and repairs. Conservation framed
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.

Catalogue Note

The five court poets of King Lakshmansena: Jayadeva (the composer of the Gita Govinda), Govardhana, Dhoi, Sarana and Umapatidhara - the five Jewels - with their colleague Shrutidhara seated in discussion with their manuscripts - named in ink above each figure.  With yellow inner and red outer borders.  Yellow text panel at top with black ink Devanagari script. 

Painted in a combination of Popular Mughal and Rajasthani styles, most likely from a workshop in the orbit of Mewar - probably from the early studio of Sahibdin or his predecessors.  There are very few comparable paintings published, and none others presently known from this Gita Govinda series.  Another later Gita Govinda painting from Mewar (ca. 1665 attributed there to Sahibdin) in the same format as ours but from a different series, is in the collection of the Metropolitan Museum of Art New York (accession no. 188.103).

The name of the artist Sahibdin (active 1628-55) is prominently associated with the Royal Mewar workshop of Maharana Jagat Singh I (r. 1628-52) and he appears to have been its master, and its style has come to be associated with his name.  Many extant works of varying quality are known in this distinctive manner which we may term the “studio” of Sahibdin, given several individual hands are discernible within the group.  They are formally linked by compartmentalized composition / color palette / figure stances / costume details and facial types and often round water vessels - as in our present painting.  Our painting was executed close to the beginning of the reign of Maharana Jagat Singh I when illustrations of the Gita Govinda, rasikapriya and ragamala series, as well as epics like the Ramayana and Bhagavata Purana in pothi (horizontal) format,  were being produced by the Royal workshop in Udaipur. 

The text at top is taken from the first canto of the Gita Govinda:  

"Vachah pallavayatyumapatidharah
Sandarvasuddhim giram,
Janite Jayadeva eva Saranah
slaghyo duruhadruteh
Srngarottarasat prameya
rachanaircharya Govardhan,
Shardhi kopi na bisrutah srutidharo,
Dhoyi kabiksmapatih."

"The poet Umapatidhara composes very
soft lyrics and has free-flowing speech.  But he
does not know the use of appropriate words with
depth of meaning to influence the mood.  Poet
Saran renowned for subtle flowing sounds
composes complicated lyrics with difficult words,
which is very painful to the listener.  Poet Govardhan
Acharya is unrivaled master in presenting erotic 
art and themes.  Dhoyi famed as king of poets for 
his musical ear has the capacity to grasp others'
lyrics quickly and to present it with additions of
his own words.  Jayadeva has the divine gift of
pure design of words and has the felicity of diction.
As such, no poet can surpass Jayadeva."

(P.C. Tripathy, 'Poets Mentioned in the Gita Govinda', in Odisha Review, May 2012, p. 6-12)

Another painting of this uncommon subject in Sultanate style (ca. 1475-1500) is in the National Museum, New Delhi.  

For other relatable works see A. Topsfield, 'Court Painting at Udaipur: Art Under the Patronage of the Maharanas of Mewar', in Artibus Asiae Sup. 44, Zurich, 2001, p. 53–84,  and A. Topsfield, 'Sahibdin', in M. C. Beach, E. Fischer and B. N. Goswamy, Masters of Indian Painting 1100-1650, Artibus Asiae Sup. 48/I, 2011, p. 391–406, fig. 1.