Royal Women Worshipping at the Amba Mata Temple

Attributable to the artist Bagta

Udaipur, Mewar, India, c. 1760-80

Opaque watercolour and gold on paper

Composed primarily in rich, deep hues of red and gold, this painting depicts a scene of worship where two women are seated in shrine of Amba Mata along with a priest. The centre of the frame depicts the sanctum where the idol of Amba Mata, an important deity for the rulers of Udaipur is enshrined on a raised platform in a recessed niche under a plush ceiling and a golden parasol. Two bells forming part of the rituals associated with worship at the temple, hang directly overhead. The idol is richly embellished with finery and garlands of flowers around its neck. Immediately in front of the idol is a Shiva linga on a yoni, which is also covered in flowers and jewels. On either side of the linga are golden utensils, part of the ritual implements. To the left is an ascetic-like figure perhaps Shiva carrying a trident. To the right is a figure of Ganesha seated in padmasana. Two highly decorated niches occupy the walls next to the platform, with silhouettes of figures of Ganesha and probably the monkey-god, Hanuman.

Below the central pavilion with the idol, directly in front of it is a large figure of Nandi the bull, Shiva’s vahana or vehicle seated in a state of beatitude. There are two raised platforms on each side of this where the priest, and a royal lady are seated respectively. The woman is resting against a golden bolster. Next to her, but seated a level lower, on a plush red carpet with floral motifs is another lady who appears to be an attendant or younger member of the household. While she wears numerous ornaments as well, her costume and jewellery are less exquisite than those of the lady seated on the platform who wears a multitude of pearls, a prerogative of the royals amongst Mughals and their Rajput counterparts. The priest is dressed in a saffron yellow dhoti (lower garment) and wears rudraksh beads around his neck, wrists and arm. He holds a rosary of white beads in his right hand.

The faces are rendered in a distinctly Udaipur style of this period with the long and large eyes and chubby chins associated with the artist Bagta and his workshop. A closer look at the faces reveals a confident attempt at portraiture in spite of having the common features and characteristic of the style. Portraits of women are indeed rare.

The architecture is shown in white, which is true to life as the Amba Mata temple in Udaipur is built in white stone. The scene is executed as a pyramidal composition that establishes hierarchy, with the chief gods and goddesses being at the centre on a high pedestal, followed by the priest and the royal woman one step down, but on raised platforms, and finally, seated on the floor is the lady in waiting. This painting is also significant because one often sees depictions of the kings and other royal men worshipping in shrines, while this is an uncommon intimate painting of women offering worship in the sanctum of a temple.

Provenance: Private collection, UK.