DESCRIPTION
This picture commemorates the queen of the princely kingdom of Jhansi in Uttar Pradesh for organizing an armed uprising against British rule during the Indian uprising of 1857, also known as the Indian Mutiny according to British history. The numerous clashes between the Rani of Jhansi and the British army are widely documented, as is her eventual wounds and demise in June 1858 while defending Gwalior Fort. In the lithograph, the queen of Jhansi, who had been in charge since her husband's passing in 1853, is shown executing an Indian soldier (sepoy) serving the British. She is joined by two men, most likely meant to represent her general Khuda Baksh Basharat Ali and her son Damodar Rao, the young man on the far right. In addition to a second stead, her favorite stallion Badal is standing behind her. The amazing print was made in a Kalighat studio in Calcutta not long after the events they showed. A print like this would have been viewed as being highly subversive in the highly charged environment that followed the Indian uprising and would have had to circulate in secret, which likely explains why so few examples have survived.
| Color |
Black Frame |
| MediumType: |
Paper |
| Mount: |
Black Mount |
| Variable: |
Acrylic |
Artist Name
Unknown
Width
300 mm - 11.81 inches
Height
450 mm - 17.72 inches
Medium
Original : Water Colour on Paper
Edition
Open Edition
Specifications
This is a high-quality fine art reproduction of original rare vintage painting, printed on enhanced matte archival paper with archival inks.
The frames used are high quality synthetic wood box frames or Aluminium frames. The print is protected with either 2.00 mm float glass or acrylic sheet as selected. To make it sturdy, a special board is used for the rear panel and hangers are included on the rear panel.
About the Art form
Kalighat painting, an entirely distinct genre of Indian painting that emerged in the 19th century in Kolkata (formerly Calcutta), West Bengal, is characterized by its vibrant colours and sharp contours.
The portrayal of gods and other mythical people in these paintings evolved over time to reflect a variety of topics. These mediocre pieces of art were created by Kalighat patuas (painters) to make a living by selling to a large audience.
As Kolkata grew into a bustling and successful industrial port city, migrants began to arrive in search of better prospects. Among them were numerous artists, crafters, and painters from across India, including patuas, members of a West Bengal artisan community. With its regular swarms of pilgrims, Kalighat would have been an ideal location for local artists to create and sell modest, inexpensive religious gifts.
The patuas abandoned their linear, narrative style in favour of single drawings containing one or two individuals, influenced by the various art styles surrounding them and with a desire to produce swiftly. The backgrounds were left plain, all non-essential elements were deleted, and basic colour combinations were chosen. The arrival of cheaper prepared paints and mill-made paper from Britain additionally contributed to patua productivity.
Framing
With Framing
Year
Late 19th Century
Enquire now
Add a few details about your requirements to get relevant quotes
Rani Lakshmi Bai
This picture commemorates the queen of the princely kingdom of Jhansi in Uttar Pradesh for organizing an armed uprising against British rule during the Indian uprising of 1857, also known as the Indian Mutiny according to British history. The numerous clashes between the Rani of Jhansi and the British army are widely documented, as is her eventual wounds and demise in June 1858 while defending Gwalior Fort. In the lithograph, the queen of Jhansi, who had been in charge since her husband's passing in 1853, is shown executing an Indian soldier (sepoy) serving the British. She is joined by two men, most likely meant to represent her general Khuda Baksh Basharat Ali and her son Damodar Rao, the young man on the far right. In addition to a second stead, her favorite stallion Badal is standing behind her. The amazing print was made in a Kalighat studio in Calcutta not long after the events they showed. A print like this would have been viewed as being highly subversive in the highly charged environment that followed the Indian uprising and would have had to circulate in secret, which likely explains why so few examples have survived.
| Color |
Black Frame |
| Artist Name |
Unknown |
| Width |
300 mm - 11.81 inches |
| Width Range |
Less than 610 mm - 24 inches |
| Height |
450 mm - 17.72 inches |
| Height Range |
Less than 610 mm - 24 inches |
| Medium |
Original : Water Colour on Paper |
| Edition |
Open Edition |
| Specifications |
This is a high-quality fine art reproduction of original rare vintage painting, printed on enhanced matte archival paper with archival inks.
The frames used are high quality synthetic wood box frames or Aluminium frames. The print is protected with either 2.00 mm float glass or acrylic sheet as selected. To make it sturdy, a special board is used for the rear panel and hangers are included on the rear panel. |
| About the Art form |
Kalighat painting, an entirely distinct genre of Indian painting that emerged in the 19th century in Kolkata (formerly Calcutta), West Bengal, is characterized by its vibrant colours and sharp contours.
The portrayal of gods and other mythical people in these paintings evolved over time to reflect a variety of topics. These mediocre pieces of art were created by Kalighat patuas (painters) to make a living by selling to a large audience.
As Kolkata grew into a bustling and successful industrial port city, migrants began to arrive in search of better prospects. Among them were numerous artists, crafters, and painters from across India, including patuas, members of a West Bengal artisan community. With its regular swarms of pilgrims, Kalighat would have been an ideal location for local artists to create and sell modest, inexpensive religious gifts.
The patuas abandoned their linear, narrative style in favour of single drawings containing one or two individuals, influenced by the various art styles surrounding them and with a desire to produce swiftly. The backgrounds were left plain, all non-essential elements were deleted, and basic colour combinations were chosen. The arrival of cheaper prepared paints and mill-made paper from Britain additionally contributed to patua productivity. |
| Framing |
With Framing |
| Year |
Late 19th Century |
| BlogId |
39 |
| MediumType: |
Paper |
| Mount: |
Black Mount |
| Variable: |
Acrylic |
