Who painted Hanuman and Mandodari?

Hanuman and Mandodari was painted by Unknown in 1890.

Where can I see Hanuman and Mandodari?

Hanuman and Mandodari is held by Victoria and Albert Museum.

What movement is Hanuman and Mandodari?

Hanuman and Mandodari is associated with Impressionism.

Artwork

Hanuman and Mandodari

Unknown , 1890

Hanuman and Mandodari is a paint painting by the Impressionist artist Unknown. It dates from 1890 and is held in the collection of the Victoria and Albert Museum. Created in 1890, this work combines watercolour with tin‑alloy pigment on paper.

About this work

Overview

Created in 1890, this work combines watercolour with tin‑alloy pigment on paper. It portrays a moment from the Hindu epic Ramayana, showing the deity Hanuman perched in a tree while the queen Mandodari presents him with a weapon. The composition is rendered in the Kalighat school’s characteristic bright palette and brisk execution.

Subject & Meaning

The scene captures the interaction between Mandodari, the favored consort of the demon king Ravana, and Hanuman, the devoted servant of Rama. By depicting the queen handing a weapon to Hanuman, the image alludes to themes of loyalty, divine intervention, and the complex alliances that arise within the epic’s narrative.

Technique & Style

Executed with watercolour washes over a paper support, the artist employed tin‑alloy pigments to achieve luminous, saturated hues. The Kalighat tradition’s hallmarks—simplified outlines, flattened forms, and swift brushstrokes—are evident, giving the figures a graphic clarity while maintaining a lively, almost spontaneous feel.

History & Provenance

The painting originates from the Kalighat printing and painting workshops that flourished in Calcutta under British colonial rule. Works of this period were often produced for a growing urban market, and this piece reflects the commercial and cultural exchanges that shaped the city’s visual culture in the late nineteenth century.

Context

Kalighat art emerged as a vernacular response to Western realism, adapting its observational focus while retaining indigenous iconography. The choice of a Ramayana episode aligns with the tradition’s tendency to depict popular religious narratives, making the work both a devotional image and a product of its contemporary artistic milieu.