The Death of the Monkey King Vali; Illustrated folio from the dispersed Mankot Ramayana series

In Book IV of the Ramayana (Epic of Rama), Sugriva, the deposed king of the monkeys,
enlists the aid of Rama and Lakshmana to regain his kingdom from his older monkey brother,
Bali, the former monarch of the same territory. Sugriva makes a binding agreement with the
divine brothers. He will help in their efforts to free Sita from Ravana if Rama and Lakshmana
will assist him to regain the forested and mountainous land of the monkeys (called Kishkindha),
over which he once ruled.
In this painting Rama, Lakshmana, Sugriva (the lead monkey), and Hanuman, the
semi­divine monkey assistant at the rear, are standing over the dead body of Bali. After a
climactic battle Rama had fired his arrow at Bali, his arrow “resembling the sun shorn of its
rays”; and the former monkey king fell dead. Here, the prostrate figure of Bali, with Rama’s
bloody arrow piercing his chest, is mourned by his wife, Tara, and by three of her ladies, all of
whom have unbound their hair. This knot of mourning figures is grouped at the base of the
Kishkindha mountain. Bali’s son Angada stands at the entrance of a cave in the mountain,
while a tree at the mountain’s summit bends towards the mourning ladies, as if in grief. (For
illustrations from the same Series of the two incidents in the narrative that directly follow the
incident illustrated here, see Darielle Mason et al 2001, no. 31 and B.N. Goswamy with Usha
Bhatia 1999, no. 178.)
This fine painting derives from a very large series (the exact number of folios in the
series is unknown) illustrating the great Indian epic the Ramayana, written by Valmiki in
probably the fourth century B.C. Composed in Sanskrit, the text running to twenty­ four
thousand stanzas, is divided into seven books. It recounts the adventures of Rama, seventh
incarnation of the great god Vishnu. Deprived of his kingdom, Rama is banished to the forest
wilderness, where his loyal wife Sita is abducted by the all­powerful, ten­headed king of the
demons, Ravana. The Ramayana describes Rama’s action­packed adventures in recapturing
Sita, while combating the ever vigilant forces of evil, which Ravana represents. (For other
illustrations to the Ramayana, see cat. nos. .......... )
No one is certain where in the Punjab Hills the present important, yet widely scattered
Series was made. All of its known paintings appear to illustrate incidents described in Book IV
(Kishkindha Kanda) of the Ramayana, where Rama and Lakshmana’s exploits in the land
located in the south center of an imagined India are described. Some scholars (W.G. Archer,
Pratapaditya Pal, etc.) believe these pictures were painted in Mankot. Others (Eberhard
Fischer) have suggested Guler, while most recently the kingdom of Nurpur, following B.N.
Goswamy, has been proposed. (1) Over the last 40 years various distinguished scholars have
examined the facial types, landscape and sky conventions characteristic of the Series, and its
color combinations as well: yet they can not agree.
(1) John Seyller and Jagdish Mittal 2014, no. 10

Inscription: Inscribed on the verso with 11 lines of Sanskrit text written in black and red ink in devanagari script, as well as the Sanskrit number 27 written in black ink.

Art of the Past 2001??

New York. The Metropolitan Museum of Art. "Divine Pleasures: Painting from India's Rajput Courts—The Kronos Collections," June 13–September 11, 2016.

New York,. The Metropolitan Museum of Art. "Sita and Rama: The Ramayana in Indian Painting," August 3, 2019–March 7, 2021.