Painting picture courtesy Christie's Auction House Sometimes, a painting begins to ask more questions than it answers. A late eighteenth-century painting, attributed to the Mandi school and catalogued as showing Raja Sansar Chand of Kangra with a courtier, has intrigued me for some time. At first glance, the identification appears straightforward enough. Two men sit opposite each other, smoking hookahs, while attendants stand behind them holding fly-whisks. One figure is dressed in red, the other in white. The scene is informal, almost intimate, and yet unmistakably courtly. But the more I looked at the painting, the less convinced I became that the red-clad figure was Sansar Chand. The reason came from looking at other portraits. Among the surviving paintings associated with the Mandi court are several portraits of Raja Surma Sen, who ruled Mandi from 1781 until his death in 1788. One such portrait shows him seated smoking a hookah, attended by a fly-whisk bearer. Another depicts ...
Maharaja Hari Singh Bahadur had ascended the throne after his uncle, Maharaja Pratap Singh had died without an heir in 1925. History has always remained divided and unfair to Maharaja Hari Singh and several eminent historians have been wilfully ignorant of the real Hari Singh and his desires. Thankfully, public notions have started to change, albeit slowly, about the man and his role in 1948 for good. Maharaja Hari Singh, son of Raja Amar Singh, became the ruler of Jammu and Kashmir, continuing the illustrious Dev dynasty of the Jamwals. However, the circumstances of his ascent were problematic to say the least. The British Resident's continued interference in the state affairs was part of the continued Great Game, and oftentimes Hari Singh had to undertake measures under duress. However, to say that the ruler was a despot is sloppy and lazy understanding of the events of the time. By then, several reforms had taken place in the state, including abolition of begar, educa...