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"tombstone": "A prince riding a composite elephant, c. 1590. India, Golconda, Deccan, 16th century. Gum tempera, ink, and gold on paper; page: 28.8 x 18.6 cm (11 5/16 x 7 5/16 in.); painting: 14.5 x 11 cm (5 11/16 x 4 5/16 in.). The Cleveland Museum of Art, Gift in honor of Madeline Neves Clapp; Gift of Mrs. Henry White Cannon by exchange; Bequest of Louise T. Cooper; Leonard C. Hanna Jr. Fund; From the Catherine and Ralph Benkaim Collection, 2013.282",
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"title": "A prince riding a composite elephant",
"creation_date": "c. 1590",
"creation_date_earliest": 1585,
"creation_date_latest": 1595,
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"technique": "Gum tempera, ink, and gold on paper",
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"department": "Indian and Southeast Asian Art",
"collection": "Indian Art",
"type": "Painting",
"measurements": "Page: 28.8 x 18.6 cm (11 5/16 x 7 5/16 in.); Painting: 14.5 x 11 cm (5 11/16 x 4 5/16 in.)",
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"inscription": "Inscriptions:\nCalligraphy of Persian verses in top and bottom borders, in nasta\u2018liq script:\nCentral verse (half-line on top, the other below the elephant\u2019s feet):\nGiven the foretold lackluster fortune of this abject servant\nNothing is writ save words of your bounty\n\nDiagonal verses on top:\nThe angelic beauties of paradise with their anxious dark-eyes set on the road\nTheir glances throwing gold coins on the path (as a welcome)\n\nDiagonal verses below:\nThe glittering full face of the sun is no more than a single drop\nFrom the perspiration behind his ear.",
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"id": 203111,
"title": "Art and Stories from Mughal India",
"description": "Art and Stories from Mughal India. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 31-October 23, 2016).",
"opening_date": "2016-07-31T04:00:00"
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"description": "The Cleveland Museum of Art (7/31/2016-10/23/2016); Art and Stories from Mughal India, cat. 15, p. 225.",
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"did_you_know": "Two lions share one head at the top of the elephant\u2019s head.",
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"description": "A prince sits cross-legged in a covered howdah seat secured to the back of a royal elephant with golden rings on its tusks. The elephant is being driven by attendants, one of whom holds a goad. Artists in the southern Indian region known as the Deccan expanded upon Persian practices of embedding creatures in landscape scenes\u2014like a visual double-entendre\u2014and created inventive images of composite creatures made up of figures that invite extended close looking. This painting would have been mounted in an album that was brought out for entertainment in elite intimate gatherings.",
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{
"citation": "Eappen, Omana. \"Bagh-i-Nauras and the Aesthetics of Well-Being.\" In Rethinking Comparative Aesthetics in a Contemporary Frame, edited by R. N. Misra, and Parul Dave-Mukherji, 273\u2013326. Shimla: Indian Institute of Advanced Study, 2019.",
"page_number": "Mentioned and Reproduced: pp. 296\u2013298, fig. 26",
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