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Journal Article

Colonial-Period Court Painting and the Case of Bikaner

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Molly Emma Aitken
Archives of Asian Art (2017) 67 (1): 25–59.
DOI: https://doi.org/10.1215/00666637-3788636
Published: 01 April 2017
...Molly Emma Aitken Abstract Nineteenth-century court painters in India's princely states reconfigured traditional portraiture to address British, Indian courtly and local values and conventions. At Bikaner, a father and son, Rahim and Chotu, experimented with a number of different styles...
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View articletitled, Colonial-Period Court Painting and the Case of <span class="search-highlight">Bikaner</span> View PDF for article titled, Colonial-Period Court Painting and the Case of <span class="search-highlight">Bikaner</span>
Journal Article

The Laud Rāgamālā Album, Bikaner, and the Sociability of Subimperial Painting

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Molly Emma Aitken
Archives of Asian Art (2013) 63 (1): 27–58.
DOI: https://doi.org/10.1353/aaa.2013.0003
Published: 01 April 2013
...Molly Emma Aitken Copyright © Asia Society 2013 The Laud Ra¯ gama¯ la¯ Album, Bikaner, and the Sociability of Subimperial Painting molly emma aitken The City...
View articletitled, The Laud Rāgamālā Album, <span class="search-highlight">Bikaner</span>, and the Sociability of Subimperial Painting View PDF for article titled, The Laud Rāgamālā Album, <span class="search-highlight">Bikaner</span>, and the Sociability of Subimperial Painting
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Figure 1. Inscribed Chotu, Maharaja Sardar Singh (r. 1851–72), Bikaner, ca. 1870. Opaque watercolor, ink, and gold on paper (wasili), 40.6 × 30.5 cm. The Metropolitan Museum of Art, New York, Fletcher Fund, 1996, 1996.100.7. Artwork in the public domain. Photograph: © The Metropolitan Museum of Art (www.metmuseum.org).

Inscribed Chotu, Maharaja Sardar Singh (r. 1851–72), Bikaner, ca. 1870. O...

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in Colonial-Period Court Painting and the Case of Bikaner > Archives of Asian Art
Published: 01 April 2017
Figure 1. Inscribed Chotu, Maharaja Sardar Singh (r. 1851–72), Bikaner, ca. 1870. Opaque watercolor, ink, and gold on paper ( wasili ), 40.6 × 30.5 cm. The Metropolitan Museum of Art, New York, Fletcher Fund, 1996, 1996.100.7. Artwork in the public domain. Photograph: © The Metropolitan Museum More
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Figure 2. Portraits of Bikaner rulers from Thomas Holbein Hendley, The Rulers of India and the Chiefs of Rajputana, 1550 to 1897 (London: W. Griggs, 1897). Note the portrait of Maharaja Sardar Singh at the top center. Artwork in the public domain.

Portraits of Bikaner rulers from Thomas Holbein Hendley, The Rulers of Ind...

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in Colonial-Period Court Painting and the Case of Bikaner > Archives of Asian Art
Published: 01 April 2017
Figure 2. Portraits of Bikaner rulers from Thomas Holbein Hendley, The Rulers of India and the Chiefs of Rajputana, 1550 to 1897 (London: W. Griggs, 1897). Note the portrait of Maharaja Sardar Singh at the top center. Artwork in the public domain. More
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Figure 3. Attributed to Chotu, Maharaja Sardar Singh, Bikaner, 1886. Opaque watercolor with gold on paper (wasili), 32.1 × 22.2 cm. The San Diego Museum of Art, Edwin Binney 3rd Collection, 1990.653.

Attributed to Chotu, Maharaja Sardar Singh , Bikaner, 1886. Opaque waterco...

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in Colonial-Period Court Painting and the Case of Bikaner > Archives of Asian Art
Published: 01 April 2017
Figure 3. Attributed to Chotu, Maharaja Sardar Singh , Bikaner, 1886. Opaque watercolor with gold on paper ( wasili ), 32.1 × 22.2 cm. The San Diego Museum of Art, Edwin Binney 3rd Collection, 1990.653. More
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Figure 5. Attributed to Rahim, portrait inscribed “Mamdu” on the reverse, Bikaner, 1860s–70s. Lampblack (siyahi) on paper (warqa), 22.3 × 16.6 cm. Private collection.

Attributed to Rahim, portrait inscribed “Mamdu” on the reverse, Bikaner, 18...

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in Colonial-Period Court Painting and the Case of Bikaner > Archives of Asian Art
Published: 01 April 2017
Figure 5. Attributed to Rahim, portrait inscribed “Mamdu” on the reverse, Bikaner, 1860s–70s. Lampblack ( siyahi ) on paper ( warqa ), 22.3 × 16.6 cm. Private collection. More
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Figure 7. Inscribed Shah Memad, Maharaja Sardar Singh, ca. 1870, Bikaner. Opaque watercolor and gold on paper (wasili). Maharaja Ganga Singhji Trust. Photograph: Sri Sadul Museum, Lallgarh Palace, Bikaner.

Inscribed Shah Memad, Maharaja Sardar Singh , ca. 1870, Bikaner. Opaque wa...

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in Colonial-Period Court Painting and the Case of Bikaner > Archives of Asian Art
Published: 01 April 2017
Figure 7. Inscribed Shah Memad, Maharaja Sardar Singh , ca. 1870, Bikaner. Opaque watercolor and gold on paper ( wasili ). Maharaja Ganga Singhji Trust. Photograph: Sri Sadul Museum, Lallgarh Palace, Bikaner. More
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Figure 8. Maharaja Ratan Singh (r. 1828–51), Bikaner, 1828–51. Opaque watercolor and gold on paper (wasili), 22 × 14.5 cm. Private collection.

Maharaja Ratan Singh (r. 1828–51), Bikaner, 1828–51. Opaque watercolor and...

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in Colonial-Period Court Painting and the Case of Bikaner > Archives of Asian Art
Published: 01 April 2017
Figure 8. Maharaja Ratan Singh (r. 1828–51), Bikaner, 1828–51. Opaque watercolor and gold on paper ( wasili ), 22 × 14.5 cm. Private collection. More
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Figure 9. “Daskat Rahim,” inscription on a drawing of “Shri Sajirdin,” Bikaner, 1860s–80s. Lampblack on paper. Private collection.

“Daskat Rahim,” inscription on a drawing of “Shri Sajirdin,” Bikaner, 1860s...

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in Colonial-Period Court Painting and the Case of Bikaner > Archives of Asian Art
Published: 01 April 2017
Figure 9. “Daskat Rahim,” inscription on a drawing of “Shri Sajirdin,” Bikaner, 1860s–80s. Lampblack on paper. Private collection. More
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Figure 10. Detail of inscription on a portrait of Maharaja Ratan Singh, Bikaner, 1860s–80s. In Rahim handwriting: “Shri Bara Hazur Syahvar Khakho” (drawing on khakha [pin-pricked composition] of His Majesty). Lampblack on paper. Private collection.

Detail of inscription on a portrait of Maharaja Ratan Singh, Bikaner, 1860s...

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in Colonial-Period Court Painting and the Case of Bikaner > Archives of Asian Art
Published: 01 April 2017
Figure 10. Detail of inscription on a portrait of Maharaja Ratan Singh, Bikaner, 1860s–80s. In Rahim handwriting: “Shri Bara Hazur Syahvar Khakho” (drawing on khakha [pin-pricked composition] of His Majesty). Lampblack on paper. Private collection. More
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Figure 11. Attributed to Rahim, Maharaja Sardar Singh, Bikaner, 1851–72. Possibly charcoal on paper (warqa), 24 × 17.5 cm. Private collection.

Attributed to Rahim, Maharaja Sardar Singh , Bikaner, 1851–72. Possibly ch...

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in Colonial-Period Court Painting and the Case of Bikaner > Archives of Asian Art
Published: 01 April 2017
Figure 11. Attributed to Rahim, Maharaja Sardar Singh , Bikaner, 1851–72. Possibly charcoal on paper ( warqa ), 24 × 17.5 cm. Private collection. More
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Figure 12. Attributed to Rahim, Maharaja Sardar Singh, Bikaner, 1851–72. Lampblack on paper (warqa), 45 × 31 cm. Private collection.

Attributed to Rahim, Maharaja Sardar Singh , Bikaner, 1851–72. Lampblack o...

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in Colonial-Period Court Painting and the Case of Bikaner > Archives of Asian Art
Published: 01 April 2017
Figure 12. Attributed to Rahim, Maharaja Sardar Singh , Bikaner, 1851–72. Lampblack on paper ( warqa ), 45 × 31 cm. Private collection. More
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Figure 13. Attributed to Rahim, Maharaja Sardar Singh, Bikaner, 1851–72. Opaque watercolor on paper (warqa), 52.5 × 36.5 cm. Private collection.

Attributed to Rahim, Maharaja Sardar Singh , Bikaner, 1851–72. Opaque wate...

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in Colonial-Period Court Painting and the Case of Bikaner > Archives of Asian Art
Published: 01 April 2017
Figure 13. Attributed to Rahim, Maharaja Sardar Singh , Bikaner, 1851–72. Opaque watercolor on paper ( warqa ), 52.5 × 36.5 cm. Private collection. More
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Figure 14. Attributed to Rahim, Maharaja Sardar Singh, Bikaner, 1851–72. Opaque watercolor and gold on paper (wasili), exact dimensions unknown. Maharaja Ganga Singhji Trust. Photograph: Sri Sadul Museum, Lallgarh Palace, Bikaner.

Attributed to Rahim, Maharaja Sardar Singh , Bikaner, 1851–72. Opaque wate...

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in Colonial-Period Court Painting and the Case of Bikaner > Archives of Asian Art
Published: 01 April 2017
Figure 14. Attributed to Rahim, Maharaja Sardar Singh , Bikaner, 1851–72. Opaque watercolor and gold on paper ( wasili ), exact dimensions unknown. Maharaja Ganga Singhji Trust. Photograph: Sri Sadul Museum, Lallgarh Palace, Bikaner. More
Image
Figure 15. Maharaja Sardar Singh, Bikaner, 1851–72. Inscribed “Usta Rahim,” presumably to identify authorship of the composition; tracing inscribed “Mehmud.” Lampblack and opaque watercolor on tracing paper, 29 × 42 cm. Private collection.

Maharaja Sardar Singh , Bikaner, 1851–72. Inscribed “Usta Rahim,” presumabl...

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in Colonial-Period Court Painting and the Case of Bikaner > Archives of Asian Art
Published: 01 April 2017
Figure 15. Maharaja Sardar Singh , Bikaner, 1851–72. Inscribed “Usta Rahim,” presumably to identify authorship of the composition; tracing inscribed “Mehmud.” Lampblack and opaque watercolor on tracing paper, 29 × 42 cm. Private collection. More
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Figure 16. Gaj Mahal (room in the Bikaner Palace); portrait of Sardar Singh, probably by Rahim, visible in the upper right over the bangala-roofed arch, albumen print, 1935–45. Udaipur Palace Collection, 2016.T.0001. Photograph: courtesy of Museum Archives of the Maharanas of Mewar, © MMCF, Udaipur.

Gaj Mahal (room in the Bikaner Palace); portrait of Sardar Singh, probably ...

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in Colonial-Period Court Painting and the Case of Bikaner > Archives of Asian Art
Published: 01 April 2017
Figure 16. Gaj Mahal (room in the Bikaner Palace); portrait of Sardar Singh, probably by Rahim, visible in the upper right over the bangala -roofed arch, albumen print, 1935–45. Udaipur Palace Collection, 2016.T.0001. Photograph: courtesy of Museum Archives of the Maharanas of Mewar, © MMCF More
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Figure 4. Attributed to Ruknuddin, detail of a drawing of bathing women, probably after a European source, ca. 1660–70s, Bikaner. Lampblack (siyahi) on paper (warqa), exact dimensions unknown. Collection of Usta Muhammad Asgar, Bikaner.

Attributed to Ruknuddin, detail of a drawing of bathing women, probably aft...

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in Colonial-Period Court Painting and the Case of Bikaner > Archives of Asian Art
Published: 01 April 2017
Figure 4. Attributed to Ruknuddin, detail of a drawing of bathing women, probably after a European source, ca. 1660–70s, Bikaner. Lampblack ( siyahi ) on paper ( warqa ), exact dimensions unknown. Collection of Usta Muhammad Asgar, Bikaner. More
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Figure 6. Inscribed to “usta dadinani” (inscription is not entirely clear), Rahim, dated 1867, Bikaner. Opaque watercolor on paper (wasili), 17 × 13 cm. Artwork in the public domain.

Inscribed to “usta dadinani” (inscription is not entirely clear), Rahim , ...

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in Colonial-Period Court Painting and the Case of Bikaner > Archives of Asian Art
Published: 01 April 2017
Figure 6. Inscribed to “usta dadinani” (inscription is not entirely clear), Rahim , dated 1867, Bikaner. Opaque watercolor on paper ( wasili ), 17 × 13 cm. Artwork in the public domain. More
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Figure 17. Maharaja Ratan Singh (r. 1828–51), inscribed “Bakhtavar.” Opaque watercolor and gold on paper, exact dimensions unknown. Maharaja Ganga Singhji Trust. Photograph: Sri Sadul Museum, Lallgarh Palace, Bikaner.

Maharaja Ratan Singh (r. 1828–51), inscribed “Bakhtavar.” Opaque watercolo...

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in Colonial-Period Court Painting and the Case of Bikaner > Archives of Asian Art
Published: 01 April 2017
Figure 17. Maharaja Ratan Singh (r. 1828–51), inscribed “Bakhtavar.” Opaque watercolor and gold on paper, exact dimensions unknown. Maharaja Ganga Singhji Trust. Photograph: Sri Sadul Museum, Lallgarh Palace, Bikaner. More
Journal Article

Keeping Up with the Rajputs: Appropriation and the Articulation of Sacrality and Political Legitimacy in Scindia Funerary Art

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Melia Belli
Archives of Asian Art (2011) 61 (1): 91–106.
DOI: https://doi.org/10.1353/aaa.2011.0001
Published: 01 April 2011
...- ˙ meaningfully adapted it. The Scindia chatrı¯s present the polis in the former Rajput state of Bikaner in present- dynasty as politically legitimate through a recognizably day Rajasthan. These examples are typical of the Rajput royal medium, but one that the Scindia patrons trans- cenotaphs, although...
View articletitled, Keeping Up with the Rajputs: Appropriation and the Articulation of Sacrality and Political Legitimacy in Scindia Funerary Art View PDF for article titled, Keeping Up with the Rajputs: Appropriation and the Articulation of Sacrality and Political Legitimacy in Scindia Funerary Art