Who painted Prince Amar Singh (1672–1710) Drives His Own Elephant?

Prince Amar Singh (1672–1710) Drives His Own Elephant was painted by Mewar Stipple Master in 1695.

Where can I see Prince Amar Singh (1672–1710) Drives His Own Elephant?

Prince Amar Singh (1672–1710) Drives His Own Elephant is held by Cleveland Museum of Art.

What movement is Prince Amar Singh (1672–1710) Drives His Own Elephant?

Prince Amar Singh (1672–1710) Drives His Own Elephant is associated with Baroque.

Artwork

Prince Amar Singh (1672–1710) Drives His Own Elephant

Mewar Stipple Master , 1695

Prince Amar Singh (1672–1710) Drives His Own Elephant is an unspecified painting by the Baroque artist Mewar Stipple Master. It dates from 1695 and is held in the collection of the Cleveland Museum of Art. The work portrays Prince Amar Singh, a youthful member of the Mewar royal family, mounted on a charging elephant.

About this work

Overview

The work portrays Prince Amar Singh, a youthful member of the Mewar royal family, mounted on a charging elephant. Dressed in a vivid yellow jama, he grips a goad while an attendant follows, brandishing a ceremonial whisk that streams behind in the wind.

Subject & Meaning

The composition emphasizes the prince’s active role as a leader, illustrating his direct control over the powerful animal. The attendant’s whisk, a symbol of royal authority, underscores the prince’s status and the ceremonial aspects of Rajput courtly life.

Technique & Style

Executed with a flat, deep green background, the painting employs a copper-based pigment that has begun to corrode the paper, resulting in an uneven surface. The artist captures motion through the fluttering whisk and the dynamic posture of the elephant and rider.

History & Provenance

Created during the late 17th to early 18th century, the piece reflects the artistic conventions of the Mewar court. Its current condition reveals the long‑term effects of the copper pigment, which continues to degrade the support material.

Context

Royal Rajput imagery often highlighted martial prowess and regal ceremony. This scene aligns with the tradition of depicting princes in active, heroic poses, reinforcing the ideals of bravery and governance prevalent in Mewar’s visual culture.