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Collections

Attributed to Kesu Khurd
Felicitation of the Virgin and Child (recto), Calligraphy (verso)circa 1600 (recto); circa 1565 (verso)

Not on view
Manuscript page with Persian Nasta'liq calligraphy in black ink on a gold-flecked cream ground, surrounded by teal border and salmon-pink speckled margin

Attributed to Kesu Khurd, Mahmud ibn Ishaq al-Shihabi al-Haravi, Felicitation of the Virgin and Child (recto), Calligraphy (verso), circa 1600 (recto); circa 1565 (verso), Los Angeles County Museum of Art, From the Nasli and Alice Heeramaneck Collection, Museum Associates Purchase, photo © Museum Associates/LACMA

Painter
Attributed to Kesu Khurd
India, active circa 1580-1600
Calligrapher (verso)
Mahmud ibn Ishaq al-Shihabi al-Haravi
Title
Felicitation of the Virgin and Child (recto), Calligraphy (verso)
Place Made
India, Mughal Empire (recto); Iran (verso)
Date Made
circa 1600 (recto); circa 1565 (verso)
Medium
Recto: Ink, opaque watercolor, and gold on paper; verso: ink and gold on paper
Dimensions
Image (recto): 7 3/8 x 4 3/4 in. (18.73 x 12.07 cm); Image (verso): 6 1/8 x 3 1/4 in. (15.56 x 8.26 cm); Sheet: 11 5/8 x 7 9/16 in. (29.53 x 19.21 cm)
Credit Line
From the Nasli and Alice Heeramaneck Collection, Museum Associates Purchase
Accession Number
M.83.105.5a-b
Classification
Drawings
Collecting Area
South and Southeast Asian Art
Curatorial Notes

Kesu Khurd (Kesu the Younger) was a Mughal painter active in circa 1580-1600. He was primarily an illustrator and colorist for such Imperial manuscripts as the V&A Akbarnama (History of Akbar) of circa 1586-1587 (see M.78.9.6) and the Jami al-Tawarikh (History of the World) of 1596 (see M.78.9.8 and M.78.9.9). This drawing is one of his few individual works, several of which feature Christian subject matter, such as the signed and closely comparable Virgin and Child in the Chester Beatty Library, Dublin (11A.19).

Recto: Images of the enthroned Virgin Mary and the Christ Child were often represented in Mughal paintings and drawings depicting Christian subjects, as well as in Goan ivories (see M.87.224). In this nim qalam (half-pen) lightly tinted drawing, which is a pastiche of motifs rather than a direct copying of a European work, the nimbate Virgin sits slightly off-center on a tall-backed chair with the Child supported on her left thigh. A woman waves a censor in front of them while numerous other women congregate around them holding books or liturgical objects. In the foreground, a woman grasps wine flasks from a small serving table. In the bottom right corner, a bearded European man walks jauntily while holding his hat and a cylindrical scroll case.

Verso: This page of nastaliq calligraphy was written by Mahmud ibn Ishaq al-Shihabi al-Haravi (Iran, active 16th century). It describes the ideal qualities of a calligrapher.

Selected Bibliography
  • Larson, Gerald et al. In Her Image: The Great Goddess in Indian Asia and the Madonna in Christian Culture. Santa Barbara: UCSB Art Museum, University of California, 1980.
  • Pal, Pratapaditya. Indian Painting, vol.1. Los Angeles: Los Angeles County Museum of Art, 1993.
  • Rosenfield, John. The Arts of India and Nepal: The Nasli and Alice Heeramaneck Collection. Boston: Museum of Fine Arts, Boston, 1966.
  • Trabold, J. The Art of India, An Historical Profile. Northridge, CA: California State University Press, 1975.