AN ASCETIC WITH HIS LOVER ON A BED, MEWAR, UDAIPUR, CIRCA 1740-50

AN ASCETIC WITH HIS LOVER ON A BED, MEWAR, UDAIPUR, CIRCA 1740-50

gouache heightened with gold on paper, inscribed on the reverse in black ink in devanagari script '2 rupees', and in red ink, inventory numbers '29/28', wide red margins, ruled in black
painting: 17.5 by 12.4 cm.
leaf: 24.4 by 19.8 cm.

Condition Report:
[In good overall condition, slight paint losses to edge of painting and borders, as viewed.

The lot is sold in the condition it is in the time of sale. The condition report is provided to assist you with the provision of guidance. Any reference to condition in the condition report for the lot does not amount to a full description of condition. Sotheby's, the Sotheby's report. Certain images of the lot can be found in the lot. In particular, the online images may represent colors and shades which are different to the actual color and shades. The condition of the batch can not be overlooked, but it can not be used in the field of batching. Sotheby's is not a professional conservator or restorer but is a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to your own professional advice regarding the condition of the lot. It is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to your own professional advice regarding the condition of the lot. It is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to your own professional advice regarding the condition of the lot.]

Catalogue Note:
While erotic scenes are far from rare in Rajasthani painting and drawing, the scene of an ascetic in an erotic embrace is very unusual, and the present example might possibly be the only known painting of this subject. In the present miniature the female is turning away in a pose that is often seen in illustrations to romantic literary texts or Ragamalas.

A Mewar painting of the same period, ascribed to Syaji, depicts Maharana Jagat Singh II (r.1734-51) holding a feast for a very large group of similarly naked and white-stained yogis, devotees of Siva (see J. Seyller in Philadelphia 2001, pp.150-1, no.61). The large congregation of naked sadhus in Udaipur at this time may have inspired the present artist’s subject matter, and the apparent incongruity of a large gathering of abstemious yogis feasting with the Maharana is also perhaps related to the incongruity of the present scene.

Provenance:
The Sven Gahlin Collection, acquired in 1967
Edward Suren, London
Nawab Mir Sir Osman Ali Khan, Asaf Jah VII, Nizam of Hyderabad (r.1911-50)
Mewar Royal Collection (inventory numbers on the verso)