THREAD: Divine illustrations by Vaddadi Papaiah (1921-92), also known by the name VaPa; Telugu illustrator best known for his work on the covers of children's magazine Chandamama.
Nakshatras, personified
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Sir John Dalling and fellow officers watching a nautch. Two of the officers use an eyeglass to observe the action more closely. They are comfortably seated on chairs under a tent, with an attendant standing behind them.
In front of the officers are two girls in vividly coloured garments which leave the midriff bare. Both are profusely bejewelled. Their hands are raised in expressive mudras while their feet stamp to the beat of the drums and cymbals played by the accompanying musicians.
Near the entrance to the tent is a chobdar with his long silver mace, and at a distance, beneath an awning, are two further attendants wearing turbans, flowing jamas and with embroidered shawls draped over their shoulders.
Kumāragupta I:
Laksmi seated facing on lotus, with halo around head, wearing lower garments and jewellery. Right hand outstretching holding fillet and left hand holding the stem of lotus.
Reverse: Kumaragupta I, standing facing left with halo around head, wearing decorated coat and trousers. Left hand holds a bow and right hand holds an arrow. In left field a Garuda standard.
Ruler: Kumaragupta I
Gupta period
Date: 415-447 AD
Goddess seated to the left on a wicker stool, wearing lower garments and jewellery and with a halo around head. Right hand outstretched offering fruit to a peacock in left field. Left hand holding the stem of a lotus flower.
Issuing Authority
Ruler: Kumaragupta I
Gupta period
Devi Mahatmya manuscript, Telugu translation of Sanskrit. Both paintings are concerned with the forces of Devi, represented in the form of grotesque leonine creatures, devastating the armies of a rogue king.
Mysore
ca. 1825
opaque watercolour and gold on paper.
VAM
The rulers of Mysore, descendants of the feudal chiefs of the kings of the Vijayanagara kingdom, fiercely sought to preserve the Hindu values and culture of their court in the face of Muslim pressures from the surrounding southern Deccan.
Mural painting traditions in nearby Andhra Pradesh, such as those at the Virabhadra temple at Lepakshi, gave strength to their cause. This painting boldly asserts its Hindu character and gives us an insight into this little studied aspect of South Indian Painting.