The Deposition from the Cross; opaque watercolour and gold on paper; Mughal; probably Lahore, ca.1598.
Two ladders rest againt the cross allowing two figures to support the dead body of Christ from below as they release him from his crucifixion, and two more to hand him down from the top. Angels and women gather in the foreground comforting, or watching, Mary Magdalene. Two dogs in the foreground crouch near a skull and bones. In the background is a city in pale grey tones; in the sky filled with blue clouds, two angels blow trumpets with three putti nearby, the central one holding a long paper scroll. Four heads of putti with wings hover at the top.
This painting was probably done for the Mughal emperor Jahangir (r.1605–1627) when he was still a prince living in the 1590s at Lahore, the northern capital of the Mughal empire, now in north-east Pakistan. The Jesuit Father Jerome Xavier, who was in Lahore at the same time, wrote in 1598 that the prince collected European paintings and prints and that he had seen the prince’s artists copying them. One of the images he saw them copying was a Descent from the Cross, a comparatively rare subject in Mughal painting. Although there is no evidence that this painting is precisely that mentioned by Jerome Xavier, it is of the same period. The composition is based on an engraving by Marcantonio Raimondi after a lost original by Raphael, and incorporates landscape details from other European sources.
The painting has been detached from a volume, otherwise intact and still at the V&A, known as the ‘Small Clive Album’. It was formerly owned by Robert Clive, 1st Baron Clive of Plassey (1725–1774).
Source : V&A, London
wow, breathtaking.
^^^ Probably would be considered inflammatory. :-D
Intresting info at:http://ww.telegraphindia.com/1070128/asp/look/story_7310822.asp
Thank you Guruprasad Palekar ! Now...Satyakam Sudershan, it is this kind of response that keeps a discussion interesting.
Treasures from India (The Clive Collection at Powis Castle) : http://www.amazon.co.uk/Treasures-India-Clive-Collection-Castle/dp/0906969697
One more link on Robert Clive & his collection & papers. http://www.britishonlinearchives.co.uk/9781851171859.php#8
Powis Castle is a National Trust property and is open to the public for much of the year ~ there is a small, but fascinating museum ensconced in one of the outbuildings that is entirely devoted to the Clive family connection ~ Robert never actually lived there but the castle passed into his son's hands via marriage. It's quite funny really that Robert Clive should become such an avid collector of art for he knew, by his own admission, next to nothing about it: " I am no judge of the value or excellence of pictures [ and] leave the choice and price of pictures to others who understand them" However, as is mentioned in the article linked above, as a figure of increasing political importance in late eighteenth century England he appreciated the necessity of demonstrating his credentials as a gentleman of sensibility and culture by acquiring an art collection with which to fill his various properties~ even if, as a self-made 'nabob', with no family heirlooms to inherit or exhibit, he was required to do so in a rather expedient fashion. To this end, Clive hired several leading experts to advise him and set off on a shopping spree around London. In February and March 1771 he spent the modern day equivalent of £92,000 on paintings at Christie's (established 1766). In May of the same year he contracted to buy at least six canvases valued at about £ 220, 000 (in today's terms) from the courtier and dealer Sir James Wright. He spent a further £100,000 in Brussels in July of that year. Clive wrote to inform his friend and confidant, Henry Strachey ~ "You will think [that I have gone] quite picture mad " ~ as he had bought more than thirty paintings in four months. Amongst the items that Clive picked up was a notable landscape by Salvator Rosa (a bargain at £6,300) and a pair of seascapes by Claude Vernet (£30,000 for the pair) ~ whatever the merit of the individual works themselves was of no great consequence to Clive, of course... All that mattered was that connoisseurs and "learned persons of taste" would admire his collection and that he would be " seen to great advantage". ... Unfortunately for Clive and his cheque-book, he never really was seen in this fashion by the British establishment.... For further details see: 'Edge of Empire' by Maya Jasanoff (2006) , p 35 -40.
Rare to see a Moghal painting of Christ...very interesting to note that Biblical themes were also incorporated in art during Jahangir's period