LACMA

ShopMembershipMyLACMATickets
LACMA
Los Angeles County Museum of Art
5905 Wilshire Blvd.
Los Angeles, CA 90036
info@lacma.org
(323) 857-6000
Sign up to receive emails
Subscribe
© Museum Associates 2026
  • About LACMA
  • Jobs
  • Building LACMA
  • Host An Event
  • Unframed
  • Press
  • FAQs
  • Log in to MyLACMA
  • Privacy Policy
© Museum Associates 2026
Collections

Unknown
Shankarabharana Ragaputra, Seventh Son of Megha Raga, Folio from a Ragamala (Garland of Melodies)circa 1670

Not on view
Mughal-style opaque watercolor painting showing a crowned ruler seated cross-legged receiving attendants presenting a small decorated elephant, with ducks in a stream below and domed pavilions above
Artist or Maker
Unknown
Title
Shankarabharana Ragaputra, Seventh Son of Megha Raga, Folio from a Ragamala (Garland of Melodies)
Place Made
India, Maharashtra, Aurangabad
Date Made
circa 1670
Medium
Opaque watercolor, gold, lapis lazuli, and ink on paper
Dimensions
Sheet: 13 1/2 x 9 3/16 in. (34.29 x 23.34 cm); Image: 10 1/2 x 7 5/8 in. (26.67 x 19.37 cm)
Credit Line
Gift of Harry Kahn
Accession Number
M.74.105.1
Classification
Drawings
Collecting Area
South and Southeast Asian Art
Curatorial Notes

According to the Sanskrit inscription and its Persian translation on the reverse, Shankarabharana Ragaputra is the seventh son of Megha Raga. The description states that before Shankarabharana stands Ganapati (Ganesha), adorned with a gem-encrusted crown, his body ornamented with garlands, with lotus eyes and hands joined together. The imagery here generally accords with the description. Shankarabharana is seated in a pavilion with a cloth fly whisk being waived over his head by an attendant. The elephant-headed Ganesha stands before him with his hands cupped as if to receive an offering. A man stands behind Ganesha with his hands held together in homage.

This folio is from a dispersed ragamala series attributed to Aurangabad, Maharashtra, circa 1670. Three other related ragamala series from the same workshop are known. This painting is from a fourth series distinguished by its blind header and bilingual inscriptions on the reverse (Seyller and Mittal 2018). This series is generally thought to be based on the ragamala iconographic system compiled in 1570 by Mesakarna (or Kshemakarna), a priest in Rewa in eastern Bundelkhand. However, as Mesakarna describes the melody as a crowned ascetic chewing beetle nut and holding a lotus, this painting with Ganesha represents a variant interpretation. Additional folios from this series are in the Jagdish and Kamala Mittal Museum of Indian Art, Hyderabad (76.458 D57 and 76.459 D58) and the Asian Art Museum, San Francisco (B84D12).

Selected Bibliography
  • Pal, Pratapaditya. Indian Painting, vol.1. Los Angeles: Los Angeles County Museum of Art, 1993.
  • Pal, Pratapaditya, Thomas W. Lentz, Sheila R. Canby, Edwin Binney, 3rd, Walter B. Denny, and Stephen Markel. "Arts from Islamic Cultures: Los Angeles County Museum of Art." Arts of Asia 17, no. 6 (November/December 1987): 73-130.