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拍品专文
This painting is a later re-working of a circa 1660 drawing by the so-called " Master of the Elephants" of Kotah at the Philadelphia Museum of Art (acc. no. 2004-149-61). While the original composition depicts Rao Jagat Singh (r. 1658-83), the present painting is inscribed to identify the ruler atop the lofty vantage as Rao Raja Bishen Singh (r. 1804-1821) of Bundi.
The painting schools of Bundi and Kotah accomplished great feats in elephant portraiture. The artist of the original composition dubbed the “Master of Elephants” was likely trained in Bundi and moved to Kotah in 1631 after it had become an independent state. The master worked under two great patrons, Rao Madho Singh (r. 1631-48) and Rao Jagat Singh (r. 1658-83) and greatly influenced a contemporaneous painting tradition, as well as the work of generations of painters in Bundi and Kotah to follow.
In the present scene, two elephants clash midair, the dominate animal depicted in full view, obscuring his opponent, while vaulting off of a brick wall. Both elephants are heavily ornamented with large gold and silver bells and orange silk mounts. Several of the Rao’s attendants poke and prod the elephants with large tridents, while others leap away from the collision. The chaotic nature of the scene is further emphasized by the bizarre towers portrayed in conflicting perspectives, and the scrambling of figures into the bold, red borders.
The painting schools of Bundi and Kotah accomplished great feats in elephant portraiture. The artist of the original composition dubbed the “Master of Elephants” was likely trained in Bundi and moved to Kotah in 1631 after it had become an independent state. The master worked under two great patrons, Rao Madho Singh (r. 1631-48) and Rao Jagat Singh (r. 1658-83) and greatly influenced a contemporaneous painting tradition, as well as the work of generations of painters in Bundi and Kotah to follow.
In the present scene, two elephants clash midair, the dominate animal depicted in full view, obscuring his opponent, while vaulting off of a brick wall. Both elephants are heavily ornamented with large gold and silver bells and orange silk mounts. Several of the Rao’s attendants poke and prod the elephants with large tridents, while others leap away from the collision. The chaotic nature of the scene is further emphasized by the bizarre towers portrayed in conflicting perspectives, and the scrambling of figures into the bold, red borders.