Ink, opaque watercolor, and gold on paper; marbleized paper
4 x 6 3/8in. (10.2 x 16.2cm)
Rogers Fund, 1944
Not on view
Mystical interpretations about the yearnings of the soul have been ascribed to such striking images of mortification, which became an established genre in Indian painting in the seventeenth century. In some cases, the motif of an emaciated horse and rider was created through the use of pounced outlines, or charbas. Here, the application of marbling is typical of Deccan taste.
Sarkis Katchadourian, New York (until 1944; his sale, Parke-Bernet,New York, January 28, 1944, lot 15, to MMA)
New York Public Library. "On Paper: The History of Art," December 8, 1990–March 2, 1991, no catalogue.
New York. The Metropolitan Museum of Art. "Indian Court Painting," March 25, 1997–July 6, 1997, no. 35.
New York. The Metropolitan Museum of Art. "Sultans of Deccan India, 1500-1700: Opulence and Fantasy," April 20, 2015–July 26, 2015, no. 73.
Zebrowski, Mark. Deccani Painting. Berkeley, CA: Sotheby Publications, 1983. p. 137, ill. fig. 105.
Kossak, Steven M., ed. Indian Court Painting 16th–19th century. New York: The Metropolitan Museum of Art, 1997. no. 35, p. 68, ill. pl. 35 (color).
Haidar, Navina, and Marika Sardar. "The Metropolitan Museum of Art Symposia." In Sultans of the South: Art of India's Deccan Courts. Brugge, Belgium: The Metropolitan Museum of Art, 2011. p. 68, ill. fig. 5.
Haidar, Navina, and Marika Sardar. "Opulence and Fantasy." In Sultans of Deccan India 1500–1700. New York: The Metropolitan Museum of Art, 2015. no. 73, pp. 162-164, ill. pl. 73 (color).