Bonhams, New York, 11 Sep 2012, lot 83 Private Collection, USA
Location History:
The piece has appeared at major international art auctions. Doris Wiener, New York, before 1981
Bonhams, New York, 11 Sep 2012
Taken from an illustration of third Rasamanjari of Bhanu Butta, 'The Intoxicated Courtesan' is yet another master piece by Devidasa of Nurpur in miniature painting. The scene presents the nayika sitting against a red bolster, overcome by the effects of wine and love. The silver platform on which she is sitting against the elegant setting adds an element of refined status and luxury. Devidasa has done a commenable job in bring out her intoxication, credible enough to her eyes and posture - she's a bit slouched over with her arms and legs loose. Her execcsive consumption is contrasted against the maiden who raises her hand to refuse the drink.
The use of opaque watercolor, gold, silver, and beetle wing cases on paper, which is stylistic of Basholi Rasmanjari, along with architectural elements aid in creating a lyrical and poetic atmosphere.The artist's skills also gets highlighted by use of fine lines and decorative detailing.
So, the illustration takes a written description of the Rasmanjari which explores various emotions of the Nayak-Nayika, sensuality and beauty, and turns it into a visual representation of strong emotions.
It's like the artist is trying to capture the feelings and mood of the scene, making it more relatable and expressive. By doing this, the illustration brings the literary description to life, creating a powerful and evocative image that conveys the complexity of human emotions.
The Intoxicated Courtesan, from the Rasamanjari of BhÄnudatta, is a striking example of early Pahari miniature painting, particularly the Basohli tradition. The image depicts a courtesan overwhelmed by intoxication, transforming a literary description of romantic and sensual emotion into a highly expressive visual scene. The bold, saturated colours, especially the intense reds and oranges, create an atmosphere of heightened passion and excitement. The woman's exaggerated facial expression, languid posture, and gestures communicate both physical intoxication and erotic abandon. Her elaborate jewellery and richly patterned costume emphasize her status as a courtesan while also contributing to the decorative richness of the composition
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By: Ruturaj Patil
Devidasa of Nurpurās The Intoxicated Courtesan transforms the poetic psychology of the Rasamanjari into an intimate study of desire, pleasure, and emotional abandon. The central nayika, reclining against the vivid red bolster, appears physically loosened by intoxication, while her languid posture and unfocused expression subtly communicate the dissolution of self-control. Her state is sharpened by the contrasting gestures of the surrounding attendants, particularly the maiden who appears to restrain or refuse the offered drink.
The composition derives much of its expressive power from its sophisticated colour scheme. Deep reds, muted greens, ochres, and delicate pinks create a sensuous yet controlled atmosphere, while touches of gold and silver evoke courtly luxury. The architectural setting provides a structured framework for this otherwise emotionally charged scene. Devidasaās precise linearity, decorative surfaces, and meticulous detailing exemplify the refined Basohli idiom. More importantly, the painting demonstrates how miniature art could translate literary rasa into visible psychology turning intoxication from a mere narrative event into a nuanced meditation on sensuality, vulnerability, and human emotion.
