Who painted Rama, Lava, Kusha and Hanuman?

Rama, Lava, Kusha and Hanuman was painted by Unknown in 1880.

Where can I see Rama, Lava, Kusha and Hanuman?

Rama, Lava, Kusha and Hanuman is held by Victoria and Albert Museum.

What movement is Rama, Lava, Kusha and Hanuman?

Rama, Lava, Kusha and Hanuman is associated with Impressionism.

Artwork

Rama, Lava, Kusha and Hanuman

Unknown , 1880

Rama, Lava, Kusha and Hanuman is a paint painting by the Impressionist artist Unknown. It dates from 1880 and is held in the collection of the Victoria and Albert Museum. Created in 1880, this watercolour and tin‑alloy work on paper presents a dynamic episode from the Ramayana.

About this work

Overview

Created in 1880, this watercolour and tin‑alloy work on paper presents a dynamic episode from the Ramayana. Rama, armed with bow and arrow, confronts his sons Lava and Kusha, while the monkey‑god Hanuman soars above them. The composition is set against a light beige ground punctuated by darker specks, giving the scene a sense of depth and movement.

Subject & Meaning

The painting captures a moment of familial conflict in the epic narrative, where Rama, unaware of his lineage, battles the twins born of his union with Sita. The inclusion of Hanuman, depicted in mid‑air, underscores his role as protector and divine witness, linking the earthly struggle to a larger spiritual context.

Technique & Style

Executed in watercolour combined with tin‑alloy accents, the artist employs bold, impressionistic brushstrokes and a vivid palette. Rama is distinguished by a red hat, yellow garment and red sash; the two central figures are rendered in green, one with a bow, the other with a sword; Hanuman appears in blue, emphasizing his supernatural nature.

History & Provenance

The work entered the collection of the Victoria and Albert Museum, where it remains a representative example of late‑19th‑century Indian narrative painting. Its acquisition reflects the museum’s interest in cross‑cultural artistic exchanges during the colonial period.

Context

Produced at a time when Indian artists were engaging with European techniques, the painting merges traditional mythological content with impressionistic visual language. The use of tin‑alloy highlights a experimental approach to material, aligning the piece with broader trends of artistic hybridity in the late Victorian era.