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  • A Group of 22 Clay Figurines depicting the Peoples of India A Group of 22 Clay Figurines depicting the Peoples of India A Group of 22 Clay Figurines depicting the Peoples of India

    A Group of 22 Clay Figurines depicting the Peoples of India

    Krishnangar, attributed to Jadunath Pal, c. 1880–90
    Polychrome unfired clay (terracruda), textiles and metal

    Between 14 and 28 cm high

     

    The art of sculpture in unfired, air-dried clay (terracruda) evolved in South Asia over millennia. The fragility of unfired clay allowed it to play a role  in sacred rituals, where terracruda idols might be submerged in water or deliberately left to disintegrate. From the 18th century, terracruda figurines became popular in a wider secular context, as artists who had been trained in sculpting for devotional purposes adapted their methods to a new colonial market. 

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  • Gateway to Emperor Akbar’s Tomb at Sikandra Agra, for a British patron Early 19th century Pen and black ink, grey... Gateway to Emperor Akbar’s Tomb at Sikandra Agra, for a British patron Early 19th century Pen and black ink, grey...
    Gateway to Emperor Akbar’s Tomb at Sikandra Agra, for a British patron

    Early 19th century

    Pen and black ink, grey wash and watercolour, heightened with white  on Whatman paper

    28.8 × 51.2 cm

     The tomb of the Emperor Akbar (r.1556-1605) at Sikandra, near Agra, is one of the most delightful and elegant of Mughal funerary architecture. The entire complex of Akbar’s tomb, including this gateway, was built by his son, Jahangir (r. 1605-1627), and completed in 1612/13. This monumental structure comes from a long tradition of grand Mughal gateways and is similar to and predates the gateways of the Taj Mahal.   The design has its roots in the Sultanate architecture of Delhi (Koch 2006,  p. 126). This example is remarkable for its elegant architectural ornament, displaying a myriad of geometric and arabesque designs. The sandstone structure is balanced by the intricate marble inlay. Our artist has successfully conveyed the delicacy of this surface decoration which is quintessential  to Jahangir’s style. The tops of the minarets were destroyed in the 18th century and only rebuilt in the early 20th century. In our painting, this damage is apparent but not obvious.  

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