It was sold to MIA by The Katherine Kittredge McMillan Memorial fund.
The Iraqi Steed Jugaldan is a striking portrait of a piebald stallion painted by Bhavani Das (also referred to as Bhavanidas). This artwork is a notable example of the Mughal tradition of equine portraiture, which aimed to depict the prized horses of the royal stable, often characterised by distinctive coat patterns and unique names, with the same solemnity typically reserved for emperors and courtiers. The stallion in this painting is explicitly named within the artwork itself. An inscription in both Devanagari and Persian script across the top of this rare signed folio reads, "The horse Jukaldan Ayragi with tenacious face belonging to the realm," with the term Ayragi identifying the horse as an Iraqi steed. Additionally, the folio features an inscription in Persian script located in the upper left corner, crediting the "work" to the artist Bhavani Das, making this piece an exceptional signed document of his craftsmanship. In this depiction of the piebald stallion, Bhavani Das showcases his exceptional drafting skills and meticulous attention to form, which contributed to the popularity of his horse paintings. The horse is portrayed in profile, its dark and white patches arranged so that the animal's outline stands out sharply against the plain, flatly colored background. Every detail, the arch of the neck, the angle of the head with its "tenacious" expression, the flow of the tail, and the taper of the legs, is articulated with deliberate, continuous lines, demonstrating the naturalistic precision Bhavani Das absorbed during his tenure in the Mughal imperial atelier. This miniature serves as a study in attentive observation: the horse's tack and distinctive spotted hide are rendered with meticulous detail at miniature scale, while the surrounding empty field isolates the silhouette, elevating the riderless horse as an emblem of royal wealth and discernment.
Bhavani Das was active in the Mughal imperial atelier from approximately 1700 to 1719, initially in Delhi and later at the Mughal court in Agra. Historical records indicate that in 1719, he was lured away from Agra's court to work for Maharaja Raj Singh (r. 1706–48) in the Rajput kingdom of Kishangarh, where he became the highest-paid employee in the region. There, he collaborated with his son Dalchand and the artist Kalyanchand, emerging as the leading master of the vibrant Kishangarh atelier. Bhavani Das was particularly noted for his innovative techniques and themes, especially his exquisite equine portraits and depictions of human subjects. He continued to work in Kishangarh until he died in 1748, and scholars trace the impact of his style, particularly his approach to landscapes, into the devotional masterpieces of the Kishangarh school. The painting "Iraqi Steed Jugaldan," created around this transitional period, encapsulates the Mughal court's passion for documenting extraordinary horses, presenting them with a sense of quiet, monumental dignity.
What strikes me first is how this horse is treated like royalty. Bhavani Das doesn't just paint an animal; he paints a portrait. The stallion stands in profile against a bare background, no landscape, no distractions. That emptiness is deliberate. It forces you to look at the horse the way you'd look at a king.
The piebald coat—those sharp black and white patches—is rendered with almost obsessive care. Every contour of the neck, every angle of the leg feels studied. And the inscription naming the horse "Jugaldan" in both Devanagari and Persian tells you this wasn't just any horse. It was known, valued, documented.
For me, the message is about dignity. The Mughals didn't see their horses as mere transport or tools. They saw them as individuals worth remembering. The plain background, the careful tack, the alert stance—it all says: this animal mattered.
It's a quiet painting, but it carries weight. A horse, standing alone, made monumental.
