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Maharana Sangram Singh of Mewar and Maharaja Sawai Jai Singh of Amber and Jaipur, Folio from the Amber Albumdated 1732

Not on view
Mughal-style opaque watercolor painting of two bearded men in white floral robes seated cross-legged on a gilded platform, exchanging objects, with two winged cherubs holding a banner overhead
Artist or Maker
Unknown
Artist or Maker
Kriparam
Title
Maharana Sangram Singh of Mewar and Maharaja Sawai Jai Singh of Amber and Jaipur, Folio from the Amber Album
Place Made
India, Rajasthan, Amber
Date Made
dated 1732
Medium
Opaque watercolor, gold, and ink on paper
Dimensions
Image: 9 7/8 x 7 1/8 in. (25.09 x 18.1 cm); Sheet: 13 1/4 x 10 in. (33.66 x 25.4 cm); Mat: 23 1/2 x 16 3/8 in. (59.69 x 41.59 cm)
Credit Line
South and Southeast Asian Acquisition Fund
Accession Number
M.2001.24
Classification
Drawings
Collecting Area
South and Southeast Asian Art
Curatorial Notes
Maharana Sangram Singh of Mewar (r. 1710–34) and Maharaja Sawai Jai Singh of Amber and Jaipur (r. 1699–1743), both rulers of kingdoms in Rajasthan, met several times in the early 18th century to strategize against the threat of the Marathas, a rival kingdom in the Deccan that was encroaching on their territories. Dated 1732, this painting is presumably when the newly crowned Sangram Singh (viewer’s right) journeyed to Amber to meet Sawai Jai Singh (a.k.a. Jai Singh II; viewer’s left). It is closely modeled compositionally on an earlier portrait of Gaj Singh of Marwar (r. 1620–38) and Jai Singh of Amber (r. 1627–67) made around 1630 in Amber (M.80.6.6). Both paintings were once in the so-called Amber Album, which was widely dispersed by 1963. This can be established by comparing the virtually identical inner borders. Through its direct borrowing from the earlier double portrait of circa 1630, this double portrait from 1732 equally emphasizes the kingship, stature, and mutual respect of the two rulers and proclaims their dynastic aspirations. In addition to its historical importance, this painting also displays the greater artistic emphasis in the 18th century on highly decorative ornamentation. Note in particular the extensive use of delicate gold floral designs on the bolsters and throne seat.