Maharana Jagat Singh II of Mewar (r. 1734-1751) Watching Krishna's Dance of Delight (Rasa Lila) Performed in the Courtyard of the Udaipur City Palace

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Maharana Jagat Singh II of Mewar (r. 1734-1751) Watching Krishna's Dance of Delight (Rasa Lila) Performed in the Courtyard of the Udaipur City Palace

India, Rajasthan, Mewar, Udaipur, 1736-circa 1740
Drawings; watercolors
Opaque watercolor, gold leaf, and silver on paper
Image: 23 7/8 x 17 1/2 in. (60.64 x 44.45 cm); Sheet: 26 3/8 x 20 1/8 in. (67 x 51.12 cm)
Purchased with funds provided by The Broad Art Foundation, Carrie and Stuart Ketchum, Nancy and Dick Riordan, the Marc and Eva Stern Foundation, and Suzanne Stern Gilison and Steven Gilison through the 2006 Collectors Committee (M.2006.78)
Not currently on public view

Curator Notes

This large and exceptional painting depicts Maharana (Great King) Jagat Singh II (reigned 1734-51) seated in the Peacock Courtyard of the royal palace in the capital city of Udaipur watching a perform...
This large and exceptional painting depicts Maharana (Great King) Jagat Singh II (reigned 1734-51) seated in the Peacock Courtyard of the royal palace in the capital city of Udaipur watching a performance of the Rasa Lila (Krishna's Dance of Delight) under the light of a full moon on November 17, 1736. The opulent kingdom of Mewar in western India was the most prominent Hindu court during the 18th century. It had a rich history of painting and the arts, but under the inspired patronage of Jagat Singh II, an efflorescence of painting, architecture and drama was achieved, with numerous artistic masterpieces created and performed in what was truly a Golden Age. The painting is attributed to the collaboration of the two leading artists of the Mewar court, Jai Ram (active circa 1720-51) and/or Jiva (active circa 1735-67). It features highly refined draftsmanship and a lavish use of gold pigment, all indicative of its superb quality. The painting is also an important historical document, as it is one of a series of only ten paintings portraying this extravagant dance performance. Each painting depicts a different episode of the dance drama, but all are unified through a uniform composition for the settings. This serial multiplicity was a unique experiment in Mewar painting, as it is the only known group of paintings devoted to a single event. A long inscription in Hindi on the reverse documents the performance and identifies all the royal attendees.
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Bibliography

  • McGill, Forrest, editor. Beyond Bollywood: 2000 Years of Dance in the Arts of South Asia, Southeast Asia, and the Himalayan Region. San Francisco, CA: Asian Art Museum, 2022.
  • "2005-2006 Selected Acquisitions." LACMA Insider 4, no.1 (2006): 4-7.