Maharana Sardar Singh Carried on a Palanquin

Udaipur, circa 1870-1880

Opaque watercolour and gold on paper

This painting demonstrates the considerable transition in style that occurred in Mewar painting over the course of the nineteenth century. Of note is the shift in palette from the warm, red and orange tones dominant in the eighteenth century to the cool vivid greens, the product of imported pigments.

The use of a strong green background began under the patronage of Maharana Sarup Singh, in the work of the artist Tara. His continuing influence is evident in this picture, not only in the palette but also in the strong use of line and fine modelling of the facial features.

It was under his successors, notably his son, court artist Sivalal, that Tara’s cool precision was developed further, with the increasing influence of European illusionistic techniques. Evidence of this can be seen here in the shading used to shape the folds of the textiles and define the hands and facial features.

Maharana Sajjan Singh came to the gaddi in 1874 at the age of sixteen. His youth allowed for the increasing influence of the British in the affairs of State, particularly in his close relationship with the Political Agent Lt. Col. Eugene Impey. His rule was cut short but the excesses of alcohol after only ten years. He patronised important developments in the railways but was also keen to preserve traditional learning, patronised a school for Sanskrit and setting up a Department of History. The Vir Vinod, the culmination of the department’s efforts, is a grand narrative history that is to this day the most comprehensive account of the history of the Sisodia Rajputs. The growing tensions between tradition and modernity are revealed in the

The influence of photography was beginning to show in the paintings of Mewar at this period, leading to the almost hyper-real finish achieved on many of these paintings.