An illustration to the Rasamanjari of Bhanu Datta: A lone nayika standing in a pavilion, Attributed to Golu, India, Nurpur, circa 1715

Acquired from Robert Ellsworth, New York, July 1993

The Rasamanjari (Essence of the Experience of Delight) is a series of poems based on the nayak-nayika theme, written in Sanskrit the fifteenth century by Bhanudatta. The present illustration depicts a lone nayika standing on the terrace of a pavilion, probably in anticipation of her lover’s arrival. The painting belongs to a well-known Rasamanjari series attributed to the artist Golu, a native of Nurpur in the Pahari region, and dated to circa 1715. Golu is known to have been active between 1710 and 1750 working under the patronage of Raja Dayadhata (r.1700-35). Golu belonged to an illustrious family of artists. His father was Devidasa of Nurpur (active c.1680-1720) who is associated with the Rasamanjari series of 1695. His grandfather was Kripal (active c.1660-90), head of the family atelier, to whom the ‘Early Rasamanjari’ series (also known as the ‘First’ Basohli Rasamanjari series), and the ‘Tantric Devi’ series can be attributed, both sets are dated to circa 1660-70.

This series attributed to Golu is based on the compositions of the earlier Rasamanjari series and was probably produced in a large workshop under the guidance of the artist. It is sometimes referred to as the ‘Rasamanjari III’ series. It is also known as the Kasturbhai- Lalbhai set as thirty-one folios are in their family collection in Ahmedabad, Gujarat. Further folios in private collections include one in the William Theo Brown & Paul Wonner Collection (see Pal 1976, no.37), one in the Catherine and Ralph Benkaim Collection (Goswamy and Fischer, 1992, fig.18A, p.62), two folios in the Barbara and Eberhard Fischer Collection on loan to the Museum Rietberg, Zurich. Other folios are in various public collections including The British Museum (1961,02110.2); The Cleveland Museum of Art (1967.239); and the Virginia Museum of Fine Arts (68.8.94). For further discussion on this series and on the family workshop, see Goswamy and Fischer, ‘Kripal, Devidasa and Golu of Nurpur’ in Beach, Fischer and Goswamy, 2011, p.439-459.

For folios from this series sold at auction, see Bonhams, New York, 17 September 2014, lot 115; and Sotheby’s New York, 17 March 2015, lots 1166, 1167.