The painting Anantashayana, attributed to the Mewar artist Chokha and dated to circa 1810, illustrates a significant episode in Hindu cosmology, Lord Vishnu reclining upon the cosmic serpent Ananta Shesha during the interval between cycles of universal creation. The composition represents the relationship between divine power, cosmic time and the continuous renewal of the universe. According to the catalogue of Christie’s, the work belongs to Chokha’s distinctive artistic tradition, characterised by expressive figures, bold outlines and striking visual forms. The central figure is Vishnu, depicted with blue skin, elaborate jewellery, a richly decorated crown and yellow-orange garments. He reclines upon the enormous, coiled body of Ananta Shesha, whose multiple hoods curve above and around the principal figures. The serpent provides both a protective shelter and a symbolic foundation for Vishnu’s cosmic rest. Lakshmi, Vishnu’s consort, sits beside him in a red veil and richly patterned clothing, gently attending to his feet. Her presence signifies devotion, care and the intimate relationship between the divine couple. A lotus emerges from Vishnu’s navel, supporting Brahma, the creator deity, who is represented with multiple heads and arms. The name Ananta, meaning “endless” or “infinite,” reinforces the association between the serpent, eternity and the cyclical nature of time. Stylistically, the painting reflects the expressive character of early nineteenth-century Mewar miniature painting. Chokha, the son of the artist Bagta, worked in Udaipur before returning to Devgarh around 1811. His paintings are associated with strong contours, distinctive facial features and substantial, expressive bodies. These characteristics are visible in the forceful depiction of the serpent and the carefully articulated faces of the deities. Ultimately, Anantashayana communicates the Hindu philosophical understanding of time as cyclical rather than linear. Vishnu’s repose represents the interval between the dissolution of one universe and the emergence of another. Through its intricate composition and devotional imagery, the painting transforms a theological concept into a visually accessible narrative of cosmic continuity, divine preservation and the eternal renewal of existence.
Anantashayana, attributed to Chokha and dated to circa 1810, transforms Hindu cosmology into a striking meditation on stillness, eternity and renewal. Vishnu’s repose upon the coiled body of Ananta Shesha establishes the composition’s central paradox: apparent inactivity becomes the precondition for creation. The serpent’s sweeping coils form a protective, almost womb-like enclosure, while its multiple hoods suggest both shelter and cosmic magnitude. Lakshmi’s attentive presence introduces an intimate tenderness that contrasts with the immense scale of the subject, while Brahma’s emergence from the lotus signals the possibility of a new beginning. The flattened space, expressive contours and decorative aquatic motifs characteristic of Mewar miniature painting reinforce the work’s symbolic rather than naturalistic vision. Ultimately, the painting presents time not as linear progression, but as an endless cycle in which dissolution quietly contains the promise of renewal.
