Important Notice

BIKANER, CIRCA 1670
Inscribed in Nagari '6 lalit bhairav raga ri ragini kaam ruk di ro...' on the reverse
Gouache on paper heightened with gold
Image: 6.25 x 4.25 in (16.1 x 11.1 cm)
Folio: 7 x 5.25 in (18.4 x 13.6 cm)

NON-EXPORTABLE REGISTERED ANTIQUITY

PROVENANCE
The Motichand Khajanchi Collection

PUBLISHED
Naval Krishna, ''Bikaneri Miniature Painting Workshops of Ruknuddin, Ibrahim and Nathu,'' Lalit Kala 21, New Delhi: Lalit Kala Akademi, 1985, pl. XII, fig. 5 (illustrated)

The representation of love in its many forms was a significant theme in miniatures. Several poetic texts were referenced by artists for the portrayal of romance, which also tied to music traditions. The representation of Ragini Lalit of Bhairav Raga in the present lot, shows a nayika lying down, perhaps awaiting appeasement from her beloved nayak, the standing figure with two garlands. Both Mughal and Deccani elements are seen in the respective colouring and features of the main figures and the attendant, as well as the clothing. The blending of styles is also seen in the architecture, awning, brickwork, floral motifs and decoration.

The present lot, which was published in Lalit Kala 21, bears the inscription of master artist Ruknuddin, who was active in the Bikaner court under the patronage of Maharaja Anoop Singh from about 1650-1697. Ruknuddin travelled with the ruler during his campaigns as far as the Deccan and as a result, his style incorporates both Mughal and Deccani elements which characterise the Bikaner school. Several works over a long span of time have been inscribed and annotated to Ruknuddin and may include those of his son or other senior artists from his atelier. Works from the atelier of Ruknuddin are in important collections around the world.

BIKANER, CIRCA 1670
Inscribed in Nagari '6 lalit bhairav raga ri ragini kaam ruk di ro...' on the reverse
Gouache on paper heightened with gold
Image: 6.25 x 4.25 in (16.1 x 11.1 cm)
Folio: 7 x 5.25 in (18.4 x 13.6 cm)

NON-EXPORTABLE REGISTERED ANTIQUITY

PROVENANCE
The Motichand Khajanchi Collection

PUBLISHED
Naval Krishna, ''Bikaneri Miniature Painting Workshops of Ruknuddin, Ibrahim and Nathu,'' Lalit Kala 21, New Delhi: Lalit Kala Akademi, 1985, pl. XII, fig. 5 (illustrated)

The representation of love in its many forms was a significant theme in miniatures. Several poetic texts were referenced by artists for the portrayal of romance, which also tied to music traditions. The representation of Ragini Lalit of Bhairav Raga in the present lot, shows a nayika lying down, perhaps awaiting appeasement from her beloved nayak, the standing figure with two garlands. Both Mughal and Deccani elements are seen in the respective colouring and features of the main figures and the attendant, as well as the clothing. The blending of styles is also seen in the architecture, awning, brickwork, floral motifs and decoration.

The present lot, which was published in Lalit Kala 21, bears the inscription of master artist Ruknuddin, who was active in the Bikaner court under the patronage of Maharaja Anoop Singh from about 1650-1697. Ruknuddin travelled with the ruler during his campaigns as far as the Deccan and as a result, his style incorporates both Mughal and Deccani elements which characterise the Bikaner school. Several works over a long span of time have been inscribed and annotated to Ruknuddin and may include those of his son or other senior artists from his atelier. Works from the atelier of Ruknuddin are in important collections around the world.