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Lot Essay
This fine double-portrait relates to a series of paintings executed in Bikaner in the early 18th century, some of which are by or attributd to Murad. They share a very similar style, particularly the fine depiction of the faces with bulgy eyes and narrow lips. The floral carpets and marble pavilions are particularly well rendered and elegant, with a very specific use of pastel colours reflecting the Bikaner interiors at the palace (Amy G. Poster et al, Realms of Heroism, Indian Paintings at the Brooklyn Museum, New York, 1994, cat.114, inscribed as being by Murad). Another painting from this group, dated SV 1768/1711 AD was sold at Christie's (India on Paper, Online Auction, 29 May - https://onlineonly.christies.com/s/india-on-paper/a-princely-couple-on- a-terrace-525/6626). The exquisite rendering of the arch with its small inverted lotus bud terminals is found in a painting by Ustad Murad dated 1701 AD in a private collection (Milo Cleveland Beach, The New Cambridge History of India, Mughal and Rajput Painting, Cambridge, 1992, pl.143, p.191). For a further note linked to another painting in this group see https://www.philamuseum.org/collections/permanent/96060.html.
Another work, attributed to Murad and Lupha, depicting Vaikuntha Darshana, has exactly the same two figures as are found here, but reversed, appearing as attendant figures. The pairing of women, each facing in different directions, is a feature very noticeable in the work of Murad's father, the great Bikaner painter, Ruknuddin - see for example a depiction also of Vaikuntha-Darshana signed by Ruknuddin and dated 1678 which contains three such groupings (Naval Krishna, 'The Umarani Master-painters of Bikaner and their Genealogy', in Andrew Topsfield (ed.), Court Painting in Rajasthan, (Marg, vol.51, no.3), Mumbai, 2000, pl.1, p.58). He in turn was taking his subject from a version by the Mughal artist 'Ali Reza who had come to Bikaner (Molly Emma Aitken, The Intelligence of Tradition in Rajput Court Painting, New York, 2010, fig.1.6, p.27). In the 'Ali Reza version this pairing of the women is not evident at all, showing clearly that it was a Ruknuddin characteristic, passed on to his son Murad and successors.
Another work, attributed to Murad and Lupha, depicting Vaikuntha Darshana, has exactly the same two figures as are found here, but reversed, appearing as attendant figures. The pairing of women, each facing in different directions, is a feature very noticeable in the work of Murad's father, the great Bikaner painter, Ruknuddin - see for example a depiction also of Vaikuntha-Darshana signed by Ruknuddin and dated 1678 which contains three such groupings (Naval Krishna, 'The Umarani Master-painters of Bikaner and their Genealogy', in Andrew Topsfield (ed.), Court Painting in Rajasthan, (Marg, vol.51, no.3), Mumbai, 2000, pl.1, p.58). He in turn was taking his subject from a version by the Mughal artist 'Ali Reza who had come to Bikaner (Molly Emma Aitken, The Intelligence of Tradition in Rajput Court Painting, New York, 2010, fig.1.6, p.27). In the 'Ali Reza version this pairing of the women is not evident at all, showing clearly that it was a Ruknuddin characteristic, passed on to his son Murad and successors.