#gandhara #mathura #gandharaart #mathuraart #mathuramuseum #kanishka #kushan – Rana Safvi https://ranasafvi.com A blog exploring India's Ganga Jamuni Tehzeeb or its rich multi plural multi cultural heritage via its adab, tehzeeb & tareekh Wed, 26 Apr 2023 12:56:58 +0000 en-US hourly 1 https://wordpress.org/?v=6.8.2 https://ranasafvi.com/wp-content/uploads/2018/12/image-7-75x75.jpg #gandhara #mathura #gandharaart #mathuraart #mathuramuseum #kanishka #kushan – Rana Safvi https://ranasafvi.com 32 32 179612229 Kanishka statue in Mathura museum https://ranasafvi.com/kanishka-statue-in-mathura-museum/ https://ranasafvi.com/kanishka-statue-in-mathura-museum/#respond Wed, 26 Apr 2023 12:56:58 +0000 https://ranasafvi.com/?p=38480

The most famous resident of Mathura museum is “the great King, the King of Kings, the Son of God, Kanishka.”
So says the kharosthi inscription on his tunic.
Carved from red and white spotted sandstone, the statue of the Kushan emperor Kanishka is dated at 2 CE, possibly coinciding with the king’s reign.
It was found in Mat site a shrine built during the Kushan reign as a southern parallel to the shrine at Surkh Kotal, Afghanistan.
Glad to have met the headless king after seeing this booted image so often in text books.

]]> https://ranasafvi.com/kanishka-statue-in-mathura-museum/feed/ 0 38480 View of a Mosque and Gateway at Motijhil, attributed to Sitaram, ca. 1814–23. India~ Met Museum https://ranasafvi.com/view-of-a-mosque-and-gateway-at-motijhil-attributed-to-sitaram-ca-1814-23-india-met-museum/ Tue, 26 Mar 2019 04:44:04 +0000 https://ranasafvi.com/view-of-a-mosque-and-gateway-at-motijhil-attributed-to-sitaram-ca-1814-23-india-met-museum/ Attributed to Sita Ram (active 1814–23). View of a Mosque and Gateway at Motijhil, ca. 1814–23. India, Bengal. Opaque watercolor on paper, 13 x 19 1/4 in. (33 x 48.9 cm)

https://www.metmuseum.org/blogs/ruminations/2017/delhi-in-ruins

Gallery Text :

Sitaram, the painter of this enchanting scene, was hired to record the travels of Francis Rawdon, the governor-general of Bengal between 1814 and 1821. The painting illustrates the Sang-i Dalan palace complex at Motijhil, Bengal, where the Rawdons traveled in 1817. The artist, working in the picturesque style, has chosen to depict the scene not by foregrounding the site’s majestic palace but rather by emphasizing a romanticized state of decay, with fallen debris from the nearby structures. In doing so, Sitaram creates a melancholic view suggesting a nostalgia for the Mughal Empire before the arrival of the British.

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