Rajput painting is essentially an aristocratic folk-art, static and lyrical. It was influenced by the Mughal School in intricacies and detail. Portraiture was an extension of the same.
Jodhpur of Marwar was ruled by the Rathor family, a branch of the Chauhan dynasty founded in 1212. The Rathors traced their geneology to the sun and the moon gods. The Maharaja, as presented here is a gentle, rather lonely man. He observes but seldom interacts. His eyes have a gentle quality, contrary to the authoritative position he occupies. His flared nostrils and a round mouth come through as endearing features. He wears a lilac undershirt and a deep green, knee-length angarakha and also a finely wrinkled tight pyjamas to go with it. The turban is the true Rajasthani type, held together with a sarpech and kalagi - royal head ornaments. Heavy, stone studded gold pendants held together by pearl strings hang down his neck. Seated on a rather simple chair, he holds the encrusted hilt of the sword firmly. His right hand lies stiffly on his knee. A fierce looking lion close to his feet, looks menacingly towards the left. There is no likeness in the qualities of the subject and beast.
The Maharaja is captured here in an extraordinary portrait whose painter was undoubtedly aware of the inroads photography was making among royal patrons. The painting exhibits what at first glance seems an almost photographic realism. It is a visually vibrant work, unrestrained and impassioned.
This description by Renu Rana.
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