Who painted Rama and Makaraksha?

Rama and Makaraksha was painted by Unknown in 1890.

Where can I see Rama and Makaraksha?

Rama and Makaraksha is held by Victoria and Albert Museum.

What movement is Rama and Makaraksha?

Rama and Makaraksha is associated with Impressionism.

Artwork

Rama and Makaraksha

Unknown , 1890

Rama and Makaraksha 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.

About this work

Overview

This painting on paper, executed in watercolor and tin alloy, illustrates a pivotal episode from the Ramayana: Rama’s defeat of the demon Makaraksha. Created circa 1890, it exemplifies the Kalighat idiom, a visual tradition that arose in nineteenth-century Calcutta. The composition relies on stark outlines, flattened planes of color, and an economy of detail to convey narrative immediacy.

Subject & Meaning

The scene captures Rama, identifiable by his blue complexion and drawn bow, confronting Makaraksha, whose serpent-adorned head and spotted yellow garment signal his demonic nature. The encounter distills the Ramayana’s moral conflict between dharma and adharma, presenting the triumph of divine order over chaos within a single, uncluttered frame.

Technique & Style

Bold, confident strokes define the figures against an undifferentiated ground, while saturated hues—cobalt, ochre, and vermilion—heighten the drama. The absence of modeling and perspective aligns with the Kalighat aesthetic, which favored legibility and directness over illusionistic depth. Bengali script along the lower margin anchors the image in its regional context.

History & Provenance

Produced in Calcutta during the late 1800s, the painting emerged from a network of patuas (itinerant artists) who catered to urban audiences. These works circulated as affordable, portable images, often sold near temples or bazaars. Their production coincided with broader cultural shifts as Bengali artisans engaged with colonial influences while preserving indigenous storytelling traditions.

Context

From the 1830s onward, Kalighat paintings addressed both sacred narratives and contemporary social concerns, reflecting the tensions of colonial Bengal. The genre’s rapid execution and stylized forms made it accessible to a growing urban populace, while its subject matter reinforced local mythological and moral frameworks amid external pressures.