Page 138 - Christie's Inidian and HImalayan Works of Art, March 2019
P. 138

PAINTINGS FROM THE ESTATE OF CAROL SUMMERS
          (LOTS 694-709)





























                        AN ILLUSTRATION FROM THE ‘SHANGRI’ RAMAYANA



          This illustration is from the Aranya  Kanda, the third book of the Ramayana.   in the present painting, depicting Rama and Lakshmana in combat with
          Rama, dressed in chainmail armour, stands in front of the demon army of the   the  long-armed  demon  Viradha.  For  further  discussion  on  the  Shangri
          horse-headed gandharva, Tumburu. His younger brother, Lakshmana, and his   Ramayana and attribution of the series to Kulu and Bahu by Archer, Goswamy
          wife, Sita stand behind him. Tumburu, a gandharva or celestial musician, had   and Fischer, see lot 702 of this sale. J.P. Losty more recently suggests
          once angered the god of wealth, Kubera. Kubera cursed him that he would be   that the series is by a Pahari artist possibly from Bilaspur (J.P. Losty and
          born a demon and only to be freed when he was slain by Rama. Tumburu was   F. Galloway, Court Paintings from Persia and India 1500 – 1900, London, 2016,
          thus born as the demon Viradha.                     pp.70 – 73, no. 27).

          W.G. Archer distinguishes four painting classifcations within the 'Shangri'  For another folio from the series, executed in ‘Style IV,’ see T. McInerney, S.
          Ramayana  series  (W.G.  Archer,  Indian  Paintings  from  the  Punjab  Hills, 1973,  Kossak, N. Haider, Divine Pleasures: Painting from India’s Rajput Courts – The
          Vol. I, p. 326). The present painting has been executed in ‘Style IV’ of  Kronos  Collections, (exhibition catalogue), New York, 2016, pp. 174-75, cat.
          Archer’s  classifcation  and  was  the  only  style  used  for  the  Aranya  Kanda.   no. 61. The Kronos Collection folio, like the current painting, has a pale yellow
          Archer discusses three other examples painted in ‘Style IV’ (Archer, op. cit.,   background with a high dark blue horizon, similarly rendered clumps of grass
          Kulu no.5, pp.328-329). The frst of these examples (now in the National  and a lengthy inscription in the red border.
          Museum, New Delhi) is painted in a similar style and follows the episode






























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