Royal Procession

Email

Whatsapp

Facebook

Pinterest

Twitter

Copy link

This large miniature, 50 by 34 cms in size, represents a royal procession with all its splendour and regalia, and characteristic medieval atmosphere as record many 17th-18th century miniatures from Rajasthan. Nothing in regard to the identity of the king might be said with any amount of certainty, style of his turban, beard, kind of crest… reveal his Marwar links – Jodhpur or one of its subordinate states. The terrain – mounds of unfertile sand-dominated land with low-height shrubs scattered around, and the kind of architecture, define its Marwar character. Except a few, wearing variedly designed flat turbans – perhaps non-Rajputs, one on the horse towards the right side behind the king's elephant, probably the Nagara-setha, town's richest man, all in attendance are in Rajput turbans as were in fashion in Jodhpur during the period. A contemporary work, the painting most effectively portrays the medieval grandeur, colours and lifestyle in princely Rajasthan.

The elephant riding prince in gold brocaded deep maroon full-sleeved choga – gown-type wear, red turban with yellow sash and black plume, an elaborate nimbus around his face and a rose in hand, seems to be on his way to a holy place, a shrine, which the white building ahead him indicates. The lavishly adorned and the golden howdah-carrying elephant of the prince is in the centre. Just ahead of his elephant is a column of three elephants, one on the right being a baby, and on the left, one of advanced age. They both are without howdahs. The youthful elephant in the middle of the column carries a shrine-type howdah with two domes, designed usually for the deity, or a princess, though in the painting it is empty. Maybe, under the ritual convention widely prevalent in Rajasthan, the king is going to the shrine for inviting and bringing from there the deity to his palace for the accomplishment of a rite, or to take the deity on a holyday trip to various places. Under prevalent convention, particularly in Rajasthan, the principal deity was taken out from its shrine to other places for a period each year. Shrinatha Ji, the principal deity of Nathadwara goes on periodical vacation every year. Apparently one of the modes of humanising the deity, it primarily aims at spreading Vaishnavism. Those, not having means to reach the shrine, had the deity at their threshold. The elephant with an empty shrine-like howdah might be for the purpose of transporting the deity – for a rite or vacation.

A white majestic horse, adorned with multi-stringed neck-ornament consisting of pendants inlaid with semi-precious stones of ruby and emerald type, flanked on the right by a column of pedestrians, and on the left, the lance and standard bearers, is leading the procession. Gems-studded crest, rich costume and imposing facial demeanour underline its rider's distinction. Behind it is the aforementioned column of three elephants. On the left of the elephant-column are two horse-riding nobles. One of the two horses, the dark brown, has as part of its saddlecloth a lotus flower-type motif – perhaps some state-related symbol not seen in medieval paintings from anywhere in Rajasthan. Behind the elephant-column is the king's elephant. Besides the king, on the elephant are its mahout and a chowri-bearer. Unusually, the mahout is also waving a chowri – flywhisk. Besides some soldiers on foot with spears in their hands, behind the king's elephant is another royal standard-bearer walking on foot. On its right are horse riding nobles and on the extreme right a column of pedestrians. An impenetrable column of horse-riders and pedestrians cover the entire width behind the king's elephant.

This description by Prof. P.C. Jain and Dr Daljeet. Prof. Jain specializes on the aesthetics of ancient Indian literature. Dr Daljeet is the chief curator of the Visual Arts Gallery at the National Museum of India, New Delhi. They have both collaborated on numerous books on Indian art and culture.