This painting of Rathor Udai Bhanji, majestically posed on a royal steed and conveying the pomp and elegance of Rajput nobility, is characteristic of royal portraiture in Indian miniature painting. Udai Bhanji, from the Rathor clan of Marwar (the Jodphur region) known for their great heroism, was the brave warrior who fought for his Maharaja against Emperor Aurangzeb, one of the most powerful Mughal rulers, and as a reward was brought into the royal family by marriage to Maharana’s niece.

Princely images abound in historical Indian miniature painting, a tradition that drew esteemed artists from Persia for employment in the royal Mughal courts of northern and central India in the mid sixteenth century. Supported by emperors such as the renowned arts patron Akbar, these artists documented their stately lives and empires in a number of painting styles. Subjects for miniaturists of the Islamic Mughal courts included scenes of the court itself, romance, military conquests and hunting expeditions. The form developed as a vehicle for illustrate Hindu legends and epochs after being embraced by the Rajput rulers in the late sixteenth century, with royal portraiture remaining an important in depicting significant historical figures. This lasted until the advent of the glass-plate camera in the 1860s, when many of the established genres of court painting were replaced by photography.(1)

As the Hindu courts came into contact with Mughal culture, the idea of realistic depictions of living people, as opposed to gods and rulers, created a new role for painters. Where previous exploits were recorded by court bards, the rulers now engaged artists to render them in a true yet regal manner, while less important nobles began commissioning portraits emulating these illustrations. Of these, equestrian portraits became a favourite.(2)

Proud and resolute astride his rearing horse, Udai Bhanji is portrayed in a manner that conveys distinction. His princely attire — in this case, an elaborate turban and gown of gold, accentuated by delicate lavender flowers — affirms his refined taste and high status. Though a fearless warrior, Udai Bhanji’s appearance asserts all the luxury of the court, providing a dignified profile fit for the Rajput aristocracy.(3)

Equestrian portrait of Rathor Udai Bhanji is one of nine Mughal and Rajput school Indian miniature paintings recently acquired by the Gallery, the first historical miniatures to enter the Collection. These works have an excellent provenance, having come from the collection of world-renowned Indian art specialist John Gilmore Ford, and complement the Gallery’s holdings of contemporary South Asian miniature painting.

Tarun Nagesh, Artlines 2-2012, p.44.

Endnotes

1 John Guy and Jorrit Britschgi, Wonder of the Age: Master Painters of India 1100–1900, Metropolitan Museum of Art, New York, 2011, p.21.

2 Rosemary Crill and Kapil Jariwala (eds), The Indian Portrait: 1560-1860 [exhibition catalogue], National Portrait Gallery, London, 2010, pp.33–35.

3 Pratapaditya Pal, Indo-Asian Art from the John Gilmore Ford Collection [exhibition catalogue], Walters Art Gallery, Baltimore, 1971, p.39.