Important Notice

PUNJAB HILLS, CIRCA 1820
Gouache on paper heightened with gold
Image: 8.5 x 12 in (21.5 x 30.4 cm)
Folio: 10.5 x 13.75 in (26.6 x 34.9 cm)

NON-EXPORTABLE REGISTERED ANTIQUITY

PROVENANCE
The Tandan Collection

This unusual painting with exquisite attention to composition and detail, shows a resplendent Sikh guru framed by a golden halo, leaning against a bolster. He is surrounded by disciples, and their faces and postures suggest that they are either sorrowful or in deep thought. A guard on the terrace walks towards a man - perhaps a visitor - beyond the palace wall. The artist renders the architecture and the textiles with an equal measure of colour and fine detailing.

In his 1954 essay on Sikh miniature painting, Mulk Raj Anand notes that the Sikh phase of painting "...was practised in the comparatively brief period of Sikh rule in the Punjab...the work carried out under the Sikh rulers of the Punjab was mainly an extension of Rajput painting of the Kangra School, carried out by Hindu, Muhammedan and Sikh artists and not the product of a distinctive Sikh kalam." (Marg, 1954, pp. 23 - 24)

PUNJAB HILLS, CIRCA 1820
Gouache on paper heightened with gold
Image: 8.5 x 12 in (21.5 x 30.4 cm)
Folio: 10.5 x 13.75 in (26.6 x 34.9 cm)

NON-EXPORTABLE REGISTERED ANTIQUITY

PROVENANCE
The Tandan Collection

This unusual painting with exquisite attention to composition and detail, shows a resplendent Sikh guru framed by a golden halo, leaning against a bolster. He is surrounded by disciples, and their faces and postures suggest that they are either sorrowful or in deep thought. A guard on the terrace walks towards a man - perhaps a visitor - beyond the palace wall. The artist renders the architecture and the textiles with an equal measure of colour and fine detailing.

In his 1954 essay on Sikh miniature painting, Mulk Raj Anand notes that the Sikh phase of painting "...was practised in the comparatively brief period of Sikh rule in the Punjab...the work carried out under the Sikh rulers of the Punjab was mainly an extension of Rajput painting of the Kangra School, carried out by Hindu, Muhammedan and Sikh artists and not the product of a distinctive Sikh kalam." (Marg, 1954, pp. 23 - 24)