ARTS OF INDIA

Rao Indrajit Singhji (1727-1762, r.1733-1762) is
clearly identifed by a nagari inscription in the
lower part of the painting as well as on verso. He
kneels on a masnad below an awning at the bank
of a river or lake and, with the help of a string
keeps with his right hand a swing in motion. The
swing resembles a shrine with the image of a
futing Krishna, probably Shri Bihariji, who turns
round to a lady who ofers a banta (a box with
betel-preparations). A lady worshipper holds a
morchal above the idol, while an orchestra behind
her praises Krishna with its songs. A painting
showing this ruler in an almost identical position
in apparently the same garden is dated V.S.1810
(1753 C.E.) and is published in Stuart Cary
Welch, Milo Cleveland Beach, Gods, Thrones,
and Peacocks, Northern Indian Paintings from two
traditions: Fifteenth to Nineteenth Centuries, New
York, 1965, cat.38, p.82.
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PORTRAIT OF RAJA SHAMSHER SEN OF
MANDI
MANDI, NORTH INDIA, CIRCA 1780
Opaque pigments on paper, the Raja wears pink
robe and turban, he sits against a red bolster,
smoking a huqqa, two visiting courtiers kneel
before him, attendants around them, a striped
carpet on the ground, with green background,
within yellow and black rules and red borders
8¿ x 10¡in. (20.5 x 27cm.)
£3,000-5,000 $4,300-7,100
€3,800-6,200
PROVENANCE:
Acquired before 1991.
Raja Shamsher Sen (1727-1781) was the grandson
of Raja Sidh Sen of Mandi (r. 1684-1727), a
portrait of which was painted by the Master
at the Court of Mankot in around 1730 (now in
the Rietberg Museum, RVI 1225; M. Beach, E.
Fischer, B. Goswamy and J. Britschgi, Masters of
Indian Painting, Vol II, 1650-1900, Artibus Asiae.
Supplementum 48 I/II, 2011, fg.11, p514). Mandi
painting evolved out of painting in Basohli in a
more independent way than other schools such
as Kulu did. By 1780 however, there is a defnitive
attempt to leave behind the rustic look of earlier
18th century paintings. Like Mankot, it specialized
in portraiture. According to Archer, Raja
Shamsher Sen was noted for ‘mental instability, a
wilful liking for low companions, crazy habits and
even at times for odd dressings-up’. For a portrait
of him and a short discussion on the Raja, see
W.G. Archer, Visions of Courtly India, The Archer
Collection of Pahari Miniatures, Washington, 1976,
cat.59, pp.110-111. Another portrait is published
in Rajput Miniatures from the Collection of Edwin
Binney, 3rd, Portland, 1968, cat.67, p.89.
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