A Warrior Resurrected: Ranjit Singh at the Wallace Collection
The Wallace Collection contextualises their Sikh holdings within their historic and artistic context in their latest exhibition...
By
Rhea Mathur
May 21, 2024
Entering Ranjit Singh: Sikh, Warrior, King, the first thing that stands out is the size of the artwork. Featuring small, intricately detailed pieces, the exhibition immediately evokes the renowned Indian karigari (skilled handiwork), setting a distinct and captivating tone for the rest of the display. The ornate, the traditional, and the elaborately designed come together to present a range of artworks, including canvas paintings, armoury, jewellery, textiles, and sculptures. Leaving no stone unturned in showcasing Ranjit Singh’s legacy, this exhibition comes across to a global audience as a representation of history through a rich tapestry of artefacts.
Born and brought up in the UK, guest curator Davinder Toor talks about this as not just a Sikh exhibition, but a display of global strength and history. As an art collector, with most works displayed from his own collection, he talks about relying on large museums and galleries to host such exhibitions. Only then, can he preserve and invest in the Sikh legacy and help it reach the recognition that it deserves. While talking to gowithYamo, Toor mentions the colourful global history defined through the pieces, making their presence in London and at the Wallace Collection all the more poignant.
One of the most alluring works in this exhibition - and part of the Toor Collection - is a watercolour painting on paper, incorporating both ink and gold in its elaborate detailing, the piece is attributed to the works of Kehar Singh, a prolific artist who was the court painter at the time. Known to have lost his left eye in his youth, Kehar Singh was able to get Ranjit Singh to turn his face towards his painting with the help of a small sparrow, making him one of the few artists who was able to capture the King’s entire face.
Sitting with Ranjit Singh in the painting is Raja Hira Singh. Distrusting his own sons to be able to handle the level of responsibility the kingdom required, Hira Singh was chosen as the favourite who could one day take the throne. In the piece, with close attention, it is possible to perceive the difference in taste between the King and the Prince; Raja Hira Singh is adorned from head to toe in pearls, gold and gemstones, sitting with his sword in his left hand. His clothes, much like the King, are embellished with gold work and he sits upright in the chair next to the King. Ranjit Singh on the other hand, can be seen with a simpler look: with a heart of a warrior, his focus remained resolute and he was not easily distracted by jewels and the wealth of the Sikh Empire during his reign. In most work featuring him, when he is not at battle, he is seen sitting in a larger chair with his legs folded in, his characteristic way of sitting.
The exhibition in its essence is a walkthrough of the life of Ranjit Singh. In the first room titled ‘Prelude to War’, the audience is introduced to the King of the time, Jai Singh, whose son was killed in battle in 1785. His widow, Sada Kaur then forged an alliance between her three-year-old daughter and Ranjit Singh, a decision which led him to be as prolific a king as he was. After the introduction, the second room talks visitors through the exquisitely crafted armoury that Singh’s army used. Titled ‘Masters of War’, this room details the King’s ruthlessness, courage and ambition and also brings attention to his masterful swordsmanship. This section contains many pieces facilitated by the Wallace Collection’s permanent collection, the presence of which, combined with the illustrious Toor Collection, symbolises a unique synergy that has brought together the pieces of the once-celebrated Sikh Empire.
Continuing into rooms titled ‘The Lahore Durbar’, ‘Firangis’ and ‘Legacies’, the exhibition narrates the story of Ranjit Singh’s reign and his ability to keep the East India Company at bay. In a peaceful alliance with the British, the exhibition emphasises Singh’s ability to maintain peace and power at a time when most of India had been conquered. It also incorporates work not just by Indian artists but also by French, German and British artists, notably by renowned firangis artists (a word which in its essence refers to French and German people). These include Joseph-Désiré Court’s General Jean-François Allard, an oil painting on canvas made in France in 1837 and Lieutenant James Rattray’s General Avitabile’s Peshawar Residence, a watercolour and ink on paper made in 1840.
As a whole, the exhibition puts together the story of a formidable king. It brings together the legacy of the Sikh Empire, uniting the large throne, the jewellery, the armoury and the painting all together within the Wallace Collection. With an audio guide providing details on certain works, an overview of the exhibition and music for each room, the curators go to lengths to ensure the formation of a clear and detailed painting in the minds of the audience of this forgotten legacy.
Ranjit Singh: Sikh, Warrior, King is showing at The Wallace Collection until 20th October.
Entering Ranjit Singh: Sikh, Warrior, King, the first thing that stands out is the size of the artwork. Featuring small, intricately detailed pieces, the exhibition immediately evokes the renowned Indian karigari (skilled handiwork), setting a distinct and captivating tone for the rest of the display. The ornate, the traditional, and the elaborately designed come together to present a range of artworks, including canvas paintings, armoury, jewellery, textiles, and sculptures. Leaving no stone unturned in showcasing Ranjit Singh’s legacy, this exhibition comes across to a global audience as a representation of history through a rich tapestry of artefacts.
Born and brought up in the UK, guest curator Davinder Toor talks about this as not just a Sikh exhibition, but a display of global strength and history. As an art collector, with most works displayed from his own collection, he talks about relying on large museums and galleries to host such exhibitions. Only then, can he preserve and invest in the Sikh legacy and help it reach the recognition that it deserves. While talking to gowithYamo, Toor mentions the colourful global history defined through the pieces, making their presence in London and at the Wallace Collection all the more poignant.
One of the most alluring works in this exhibition - and part of the Toor Collection - is a watercolour painting on paper, incorporating both ink and gold in its elaborate detailing, the piece is attributed to the works of Kehar Singh, a prolific artist who was the court painter at the time. Known to have lost his left eye in his youth, Kehar Singh was able to get Ranjit Singh to turn his face towards his painting with the help of a small sparrow, making him one of the few artists who was able to capture the King’s entire face.
Sitting with Ranjit Singh in the painting is Raja Hira Singh. Distrusting his own sons to be able to handle the level of responsibility the kingdom required, Hira Singh was chosen as the favourite who could one day take the throne. In the piece, with close attention, it is possible to perceive the difference in taste between the King and the Prince; Raja Hira Singh is adorned from head to toe in pearls, gold and gemstones, sitting with his sword in his left hand. His clothes, much like the King, are embellished with gold work and he sits upright in the chair next to the King. Ranjit Singh on the other hand, can be seen with a simpler look: with a heart of a warrior, his focus remained resolute and he was not easily distracted by jewels and the wealth of the Sikh Empire during his reign. In most work featuring him, when he is not at battle, he is seen sitting in a larger chair with his legs folded in, his characteristic way of sitting.
The exhibition in its essence is a walkthrough of the life of Ranjit Singh. In the first room titled ‘Prelude to War’, the audience is introduced to the King of the time, Jai Singh, whose son was killed in battle in 1785. His widow, Sada Kaur then forged an alliance between her three-year-old daughter and Ranjit Singh, a decision which led him to be as prolific a king as he was. After the introduction, the second room talks visitors through the exquisitely crafted armoury that Singh’s army used. Titled ‘Masters of War’, this room details the King’s ruthlessness, courage and ambition and also brings attention to his masterful swordsmanship. This section contains many pieces facilitated by the Wallace Collection’s permanent collection, the presence of which, combined with the illustrious Toor Collection, symbolises a unique synergy that has brought together the pieces of the once-celebrated Sikh Empire.
Continuing into rooms titled ‘The Lahore Durbar’, ‘Firangis’ and ‘Legacies’, the exhibition narrates the story of Ranjit Singh’s reign and his ability to keep the East India Company at bay. In a peaceful alliance with the British, the exhibition emphasises Singh’s ability to maintain peace and power at a time when most of India had been conquered. It also incorporates work not just by Indian artists but also by French, German and British artists, notably by renowned firangis artists (a word which in its essence refers to French and German people). These include Joseph-Désiré Court’s General Jean-François Allard, an oil painting on canvas made in France in 1837 and Lieutenant James Rattray’s General Avitabile’s Peshawar Residence, a watercolour and ink on paper made in 1840.
As a whole, the exhibition puts together the story of a formidable king. It brings together the legacy of the Sikh Empire, uniting the large throne, the jewellery, the armoury and the painting all together within the Wallace Collection. With an audio guide providing details on certain works, an overview of the exhibition and music for each room, the curators go to lengths to ensure the formation of a clear and detailed painting in the minds of the audience of this forgotten legacy.
Ranjit Singh: Sikh, Warrior, King is showing at The Wallace Collection until 20th October.
Entering Ranjit Singh: Sikh, Warrior, King, the first thing that stands out is the size of the artwork. Featuring small, intricately detailed pieces, the exhibition immediately evokes the renowned Indian karigari (skilled handiwork), setting a distinct and captivating tone for the rest of the display. The ornate, the traditional, and the elaborately designed come together to present a range of artworks, including canvas paintings, armoury, jewellery, textiles, and sculptures. Leaving no stone unturned in showcasing Ranjit Singh’s legacy, this exhibition comes across to a global audience as a representation of history through a rich tapestry of artefacts.
Born and brought up in the UK, guest curator Davinder Toor talks about this as not just a Sikh exhibition, but a display of global strength and history. As an art collector, with most works displayed from his own collection, he talks about relying on large museums and galleries to host such exhibitions. Only then, can he preserve and invest in the Sikh legacy and help it reach the recognition that it deserves. While talking to gowithYamo, Toor mentions the colourful global history defined through the pieces, making their presence in London and at the Wallace Collection all the more poignant.
One of the most alluring works in this exhibition - and part of the Toor Collection - is a watercolour painting on paper, incorporating both ink and gold in its elaborate detailing, the piece is attributed to the works of Kehar Singh, a prolific artist who was the court painter at the time. Known to have lost his left eye in his youth, Kehar Singh was able to get Ranjit Singh to turn his face towards his painting with the help of a small sparrow, making him one of the few artists who was able to capture the King’s entire face.
Sitting with Ranjit Singh in the painting is Raja Hira Singh. Distrusting his own sons to be able to handle the level of responsibility the kingdom required, Hira Singh was chosen as the favourite who could one day take the throne. In the piece, with close attention, it is possible to perceive the difference in taste between the King and the Prince; Raja Hira Singh is adorned from head to toe in pearls, gold and gemstones, sitting with his sword in his left hand. His clothes, much like the King, are embellished with gold work and he sits upright in the chair next to the King. Ranjit Singh on the other hand, can be seen with a simpler look: with a heart of a warrior, his focus remained resolute and he was not easily distracted by jewels and the wealth of the Sikh Empire during his reign. In most work featuring him, when he is not at battle, he is seen sitting in a larger chair with his legs folded in, his characteristic way of sitting.
The exhibition in its essence is a walkthrough of the life of Ranjit Singh. In the first room titled ‘Prelude to War’, the audience is introduced to the King of the time, Jai Singh, whose son was killed in battle in 1785. His widow, Sada Kaur then forged an alliance between her three-year-old daughter and Ranjit Singh, a decision which led him to be as prolific a king as he was. After the introduction, the second room talks visitors through the exquisitely crafted armoury that Singh’s army used. Titled ‘Masters of War’, this room details the King’s ruthlessness, courage and ambition and also brings attention to his masterful swordsmanship. This section contains many pieces facilitated by the Wallace Collection’s permanent collection, the presence of which, combined with the illustrious Toor Collection, symbolises a unique synergy that has brought together the pieces of the once-celebrated Sikh Empire.
Continuing into rooms titled ‘The Lahore Durbar’, ‘Firangis’ and ‘Legacies’, the exhibition narrates the story of Ranjit Singh’s reign and his ability to keep the East India Company at bay. In a peaceful alliance with the British, the exhibition emphasises Singh’s ability to maintain peace and power at a time when most of India had been conquered. It also incorporates work not just by Indian artists but also by French, German and British artists, notably by renowned firangis artists (a word which in its essence refers to French and German people). These include Joseph-Désiré Court’s General Jean-François Allard, an oil painting on canvas made in France in 1837 and Lieutenant James Rattray’s General Avitabile’s Peshawar Residence, a watercolour and ink on paper made in 1840.
As a whole, the exhibition puts together the story of a formidable king. It brings together the legacy of the Sikh Empire, uniting the large throne, the jewellery, the armoury and the painting all together within the Wallace Collection. With an audio guide providing details on certain works, an overview of the exhibition and music for each room, the curators go to lengths to ensure the formation of a clear and detailed painting in the minds of the audience of this forgotten legacy.
Ranjit Singh: Sikh, Warrior, King is showing at The Wallace Collection until 20th October.
Entering Ranjit Singh: Sikh, Warrior, King, the first thing that stands out is the size of the artwork. Featuring small, intricately detailed pieces, the exhibition immediately evokes the renowned Indian karigari (skilled handiwork), setting a distinct and captivating tone for the rest of the display. The ornate, the traditional, and the elaborately designed come together to present a range of artworks, including canvas paintings, armoury, jewellery, textiles, and sculptures. Leaving no stone unturned in showcasing Ranjit Singh’s legacy, this exhibition comes across to a global audience as a representation of history through a rich tapestry of artefacts.
Born and brought up in the UK, guest curator Davinder Toor talks about this as not just a Sikh exhibition, but a display of global strength and history. As an art collector, with most works displayed from his own collection, he talks about relying on large museums and galleries to host such exhibitions. Only then, can he preserve and invest in the Sikh legacy and help it reach the recognition that it deserves. While talking to gowithYamo, Toor mentions the colourful global history defined through the pieces, making their presence in London and at the Wallace Collection all the more poignant.
One of the most alluring works in this exhibition - and part of the Toor Collection - is a watercolour painting on paper, incorporating both ink and gold in its elaborate detailing, the piece is attributed to the works of Kehar Singh, a prolific artist who was the court painter at the time. Known to have lost his left eye in his youth, Kehar Singh was able to get Ranjit Singh to turn his face towards his painting with the help of a small sparrow, making him one of the few artists who was able to capture the King’s entire face.
Sitting with Ranjit Singh in the painting is Raja Hira Singh. Distrusting his own sons to be able to handle the level of responsibility the kingdom required, Hira Singh was chosen as the favourite who could one day take the throne. In the piece, with close attention, it is possible to perceive the difference in taste between the King and the Prince; Raja Hira Singh is adorned from head to toe in pearls, gold and gemstones, sitting with his sword in his left hand. His clothes, much like the King, are embellished with gold work and he sits upright in the chair next to the King. Ranjit Singh on the other hand, can be seen with a simpler look: with a heart of a warrior, his focus remained resolute and he was not easily distracted by jewels and the wealth of the Sikh Empire during his reign. In most work featuring him, when he is not at battle, he is seen sitting in a larger chair with his legs folded in, his characteristic way of sitting.
The exhibition in its essence is a walkthrough of the life of Ranjit Singh. In the first room titled ‘Prelude to War’, the audience is introduced to the King of the time, Jai Singh, whose son was killed in battle in 1785. His widow, Sada Kaur then forged an alliance between her three-year-old daughter and Ranjit Singh, a decision which led him to be as prolific a king as he was. After the introduction, the second room talks visitors through the exquisitely crafted armoury that Singh’s army used. Titled ‘Masters of War’, this room details the King’s ruthlessness, courage and ambition and also brings attention to his masterful swordsmanship. This section contains many pieces facilitated by the Wallace Collection’s permanent collection, the presence of which, combined with the illustrious Toor Collection, symbolises a unique synergy that has brought together the pieces of the once-celebrated Sikh Empire.
Continuing into rooms titled ‘The Lahore Durbar’, ‘Firangis’ and ‘Legacies’, the exhibition narrates the story of Ranjit Singh’s reign and his ability to keep the East India Company at bay. In a peaceful alliance with the British, the exhibition emphasises Singh’s ability to maintain peace and power at a time when most of India had been conquered. It also incorporates work not just by Indian artists but also by French, German and British artists, notably by renowned firangis artists (a word which in its essence refers to French and German people). These include Joseph-Désiré Court’s General Jean-François Allard, an oil painting on canvas made in France in 1837 and Lieutenant James Rattray’s General Avitabile’s Peshawar Residence, a watercolour and ink on paper made in 1840.
As a whole, the exhibition puts together the story of a formidable king. It brings together the legacy of the Sikh Empire, uniting the large throne, the jewellery, the armoury and the painting all together within the Wallace Collection. With an audio guide providing details on certain works, an overview of the exhibition and music for each room, the curators go to lengths to ensure the formation of a clear and detailed painting in the minds of the audience of this forgotten legacy.
Ranjit Singh: Sikh, Warrior, King is showing at The Wallace Collection until 20th October.
Entering Ranjit Singh: Sikh, Warrior, King, the first thing that stands out is the size of the artwork. Featuring small, intricately detailed pieces, the exhibition immediately evokes the renowned Indian karigari (skilled handiwork), setting a distinct and captivating tone for the rest of the display. The ornate, the traditional, and the elaborately designed come together to present a range of artworks, including canvas paintings, armoury, jewellery, textiles, and sculptures. Leaving no stone unturned in showcasing Ranjit Singh’s legacy, this exhibition comes across to a global audience as a representation of history through a rich tapestry of artefacts.
Born and brought up in the UK, guest curator Davinder Toor talks about this as not just a Sikh exhibition, but a display of global strength and history. As an art collector, with most works displayed from his own collection, he talks about relying on large museums and galleries to host such exhibitions. Only then, can he preserve and invest in the Sikh legacy and help it reach the recognition that it deserves. While talking to gowithYamo, Toor mentions the colourful global history defined through the pieces, making their presence in London and at the Wallace Collection all the more poignant.
One of the most alluring works in this exhibition - and part of the Toor Collection - is a watercolour painting on paper, incorporating both ink and gold in its elaborate detailing, the piece is attributed to the works of Kehar Singh, a prolific artist who was the court painter at the time. Known to have lost his left eye in his youth, Kehar Singh was able to get Ranjit Singh to turn his face towards his painting with the help of a small sparrow, making him one of the few artists who was able to capture the King’s entire face.
Sitting with Ranjit Singh in the painting is Raja Hira Singh. Distrusting his own sons to be able to handle the level of responsibility the kingdom required, Hira Singh was chosen as the favourite who could one day take the throne. In the piece, with close attention, it is possible to perceive the difference in taste between the King and the Prince; Raja Hira Singh is adorned from head to toe in pearls, gold and gemstones, sitting with his sword in his left hand. His clothes, much like the King, are embellished with gold work and he sits upright in the chair next to the King. Ranjit Singh on the other hand, can be seen with a simpler look: with a heart of a warrior, his focus remained resolute and he was not easily distracted by jewels and the wealth of the Sikh Empire during his reign. In most work featuring him, when he is not at battle, he is seen sitting in a larger chair with his legs folded in, his characteristic way of sitting.
The exhibition in its essence is a walkthrough of the life of Ranjit Singh. In the first room titled ‘Prelude to War’, the audience is introduced to the King of the time, Jai Singh, whose son was killed in battle in 1785. His widow, Sada Kaur then forged an alliance between her three-year-old daughter and Ranjit Singh, a decision which led him to be as prolific a king as he was. After the introduction, the second room talks visitors through the exquisitely crafted armoury that Singh’s army used. Titled ‘Masters of War’, this room details the King’s ruthlessness, courage and ambition and also brings attention to his masterful swordsmanship. This section contains many pieces facilitated by the Wallace Collection’s permanent collection, the presence of which, combined with the illustrious Toor Collection, symbolises a unique synergy that has brought together the pieces of the once-celebrated Sikh Empire.
Continuing into rooms titled ‘The Lahore Durbar’, ‘Firangis’ and ‘Legacies’, the exhibition narrates the story of Ranjit Singh’s reign and his ability to keep the East India Company at bay. In a peaceful alliance with the British, the exhibition emphasises Singh’s ability to maintain peace and power at a time when most of India had been conquered. It also incorporates work not just by Indian artists but also by French, German and British artists, notably by renowned firangis artists (a word which in its essence refers to French and German people). These include Joseph-Désiré Court’s General Jean-François Allard, an oil painting on canvas made in France in 1837 and Lieutenant James Rattray’s General Avitabile’s Peshawar Residence, a watercolour and ink on paper made in 1840.
As a whole, the exhibition puts together the story of a formidable king. It brings together the legacy of the Sikh Empire, uniting the large throne, the jewellery, the armoury and the painting all together within the Wallace Collection. With an audio guide providing details on certain works, an overview of the exhibition and music for each room, the curators go to lengths to ensure the formation of a clear and detailed painting in the minds of the audience of this forgotten legacy.
Ranjit Singh: Sikh, Warrior, King is showing at The Wallace Collection until 20th October.
Entering Ranjit Singh: Sikh, Warrior, King, the first thing that stands out is the size of the artwork. Featuring small, intricately detailed pieces, the exhibition immediately evokes the renowned Indian karigari (skilled handiwork), setting a distinct and captivating tone for the rest of the display. The ornate, the traditional, and the elaborately designed come together to present a range of artworks, including canvas paintings, armoury, jewellery, textiles, and sculptures. Leaving no stone unturned in showcasing Ranjit Singh’s legacy, this exhibition comes across to a global audience as a representation of history through a rich tapestry of artefacts.
Born and brought up in the UK, guest curator Davinder Toor talks about this as not just a Sikh exhibition, but a display of global strength and history. As an art collector, with most works displayed from his own collection, he talks about relying on large museums and galleries to host such exhibitions. Only then, can he preserve and invest in the Sikh legacy and help it reach the recognition that it deserves. While talking to gowithYamo, Toor mentions the colourful global history defined through the pieces, making their presence in London and at the Wallace Collection all the more poignant.
One of the most alluring works in this exhibition - and part of the Toor Collection - is a watercolour painting on paper, incorporating both ink and gold in its elaborate detailing, the piece is attributed to the works of Kehar Singh, a prolific artist who was the court painter at the time. Known to have lost his left eye in his youth, Kehar Singh was able to get Ranjit Singh to turn his face towards his painting with the help of a small sparrow, making him one of the few artists who was able to capture the King’s entire face.
Sitting with Ranjit Singh in the painting is Raja Hira Singh. Distrusting his own sons to be able to handle the level of responsibility the kingdom required, Hira Singh was chosen as the favourite who could one day take the throne. In the piece, with close attention, it is possible to perceive the difference in taste between the King and the Prince; Raja Hira Singh is adorned from head to toe in pearls, gold and gemstones, sitting with his sword in his left hand. His clothes, much like the King, are embellished with gold work and he sits upright in the chair next to the King. Ranjit Singh on the other hand, can be seen with a simpler look: with a heart of a warrior, his focus remained resolute and he was not easily distracted by jewels and the wealth of the Sikh Empire during his reign. In most work featuring him, when he is not at battle, he is seen sitting in a larger chair with his legs folded in, his characteristic way of sitting.
The exhibition in its essence is a walkthrough of the life of Ranjit Singh. In the first room titled ‘Prelude to War’, the audience is introduced to the King of the time, Jai Singh, whose son was killed in battle in 1785. His widow, Sada Kaur then forged an alliance between her three-year-old daughter and Ranjit Singh, a decision which led him to be as prolific a king as he was. After the introduction, the second room talks visitors through the exquisitely crafted armoury that Singh’s army used. Titled ‘Masters of War’, this room details the King’s ruthlessness, courage and ambition and also brings attention to his masterful swordsmanship. This section contains many pieces facilitated by the Wallace Collection’s permanent collection, the presence of which, combined with the illustrious Toor Collection, symbolises a unique synergy that has brought together the pieces of the once-celebrated Sikh Empire.
Continuing into rooms titled ‘The Lahore Durbar’, ‘Firangis’ and ‘Legacies’, the exhibition narrates the story of Ranjit Singh’s reign and his ability to keep the East India Company at bay. In a peaceful alliance with the British, the exhibition emphasises Singh’s ability to maintain peace and power at a time when most of India had been conquered. It also incorporates work not just by Indian artists but also by French, German and British artists, notably by renowned firangis artists (a word which in its essence refers to French and German people). These include Joseph-Désiré Court’s General Jean-François Allard, an oil painting on canvas made in France in 1837 and Lieutenant James Rattray’s General Avitabile’s Peshawar Residence, a watercolour and ink on paper made in 1840.
As a whole, the exhibition puts together the story of a formidable king. It brings together the legacy of the Sikh Empire, uniting the large throne, the jewellery, the armoury and the painting all together within the Wallace Collection. With an audio guide providing details on certain works, an overview of the exhibition and music for each room, the curators go to lengths to ensure the formation of a clear and detailed painting in the minds of the audience of this forgotten legacy.
Ranjit Singh: Sikh, Warrior, King is showing at The Wallace Collection until 20th October.
Entering Ranjit Singh: Sikh, Warrior, King, the first thing that stands out is the size of the artwork. Featuring small, intricately detailed pieces, the exhibition immediately evokes the renowned Indian karigari (skilled handiwork), setting a distinct and captivating tone for the rest of the display. The ornate, the traditional, and the elaborately designed come together to present a range of artworks, including canvas paintings, armoury, jewellery, textiles, and sculptures. Leaving no stone unturned in showcasing Ranjit Singh’s legacy, this exhibition comes across to a global audience as a representation of history through a rich tapestry of artefacts.
Born and brought up in the UK, guest curator Davinder Toor talks about this as not just a Sikh exhibition, but a display of global strength and history. As an art collector, with most works displayed from his own collection, he talks about relying on large museums and galleries to host such exhibitions. Only then, can he preserve and invest in the Sikh legacy and help it reach the recognition that it deserves. While talking to gowithYamo, Toor mentions the colourful global history defined through the pieces, making their presence in London and at the Wallace Collection all the more poignant.
One of the most alluring works in this exhibition - and part of the Toor Collection - is a watercolour painting on paper, incorporating both ink and gold in its elaborate detailing, the piece is attributed to the works of Kehar Singh, a prolific artist who was the court painter at the time. Known to have lost his left eye in his youth, Kehar Singh was able to get Ranjit Singh to turn his face towards his painting with the help of a small sparrow, making him one of the few artists who was able to capture the King’s entire face.
Sitting with Ranjit Singh in the painting is Raja Hira Singh. Distrusting his own sons to be able to handle the level of responsibility the kingdom required, Hira Singh was chosen as the favourite who could one day take the throne. In the piece, with close attention, it is possible to perceive the difference in taste between the King and the Prince; Raja Hira Singh is adorned from head to toe in pearls, gold and gemstones, sitting with his sword in his left hand. His clothes, much like the King, are embellished with gold work and he sits upright in the chair next to the King. Ranjit Singh on the other hand, can be seen with a simpler look: with a heart of a warrior, his focus remained resolute and he was not easily distracted by jewels and the wealth of the Sikh Empire during his reign. In most work featuring him, when he is not at battle, he is seen sitting in a larger chair with his legs folded in, his characteristic way of sitting.
The exhibition in its essence is a walkthrough of the life of Ranjit Singh. In the first room titled ‘Prelude to War’, the audience is introduced to the King of the time, Jai Singh, whose son was killed in battle in 1785. His widow, Sada Kaur then forged an alliance between her three-year-old daughter and Ranjit Singh, a decision which led him to be as prolific a king as he was. After the introduction, the second room talks visitors through the exquisitely crafted armoury that Singh’s army used. Titled ‘Masters of War’, this room details the King’s ruthlessness, courage and ambition and also brings attention to his masterful swordsmanship. This section contains many pieces facilitated by the Wallace Collection’s permanent collection, the presence of which, combined with the illustrious Toor Collection, symbolises a unique synergy that has brought together the pieces of the once-celebrated Sikh Empire.
Continuing into rooms titled ‘The Lahore Durbar’, ‘Firangis’ and ‘Legacies’, the exhibition narrates the story of Ranjit Singh’s reign and his ability to keep the East India Company at bay. In a peaceful alliance with the British, the exhibition emphasises Singh’s ability to maintain peace and power at a time when most of India had been conquered. It also incorporates work not just by Indian artists but also by French, German and British artists, notably by renowned firangis artists (a word which in its essence refers to French and German people). These include Joseph-Désiré Court’s General Jean-François Allard, an oil painting on canvas made in France in 1837 and Lieutenant James Rattray’s General Avitabile’s Peshawar Residence, a watercolour and ink on paper made in 1840.
As a whole, the exhibition puts together the story of a formidable king. It brings together the legacy of the Sikh Empire, uniting the large throne, the jewellery, the armoury and the painting all together within the Wallace Collection. With an audio guide providing details on certain works, an overview of the exhibition and music for each room, the curators go to lengths to ensure the formation of a clear and detailed painting in the minds of the audience of this forgotten legacy.
Ranjit Singh: Sikh, Warrior, King is showing at The Wallace Collection until 20th October.
Entering Ranjit Singh: Sikh, Warrior, King, the first thing that stands out is the size of the artwork. Featuring small, intricately detailed pieces, the exhibition immediately evokes the renowned Indian karigari (skilled handiwork), setting a distinct and captivating tone for the rest of the display. The ornate, the traditional, and the elaborately designed come together to present a range of artworks, including canvas paintings, armoury, jewellery, textiles, and sculptures. Leaving no stone unturned in showcasing Ranjit Singh’s legacy, this exhibition comes across to a global audience as a representation of history through a rich tapestry of artefacts.
Born and brought up in the UK, guest curator Davinder Toor talks about this as not just a Sikh exhibition, but a display of global strength and history. As an art collector, with most works displayed from his own collection, he talks about relying on large museums and galleries to host such exhibitions. Only then, can he preserve and invest in the Sikh legacy and help it reach the recognition that it deserves. While talking to gowithYamo, Toor mentions the colourful global history defined through the pieces, making their presence in London and at the Wallace Collection all the more poignant.
One of the most alluring works in this exhibition - and part of the Toor Collection - is a watercolour painting on paper, incorporating both ink and gold in its elaborate detailing, the piece is attributed to the works of Kehar Singh, a prolific artist who was the court painter at the time. Known to have lost his left eye in his youth, Kehar Singh was able to get Ranjit Singh to turn his face towards his painting with the help of a small sparrow, making him one of the few artists who was able to capture the King’s entire face.
Sitting with Ranjit Singh in the painting is Raja Hira Singh. Distrusting his own sons to be able to handle the level of responsibility the kingdom required, Hira Singh was chosen as the favourite who could one day take the throne. In the piece, with close attention, it is possible to perceive the difference in taste between the King and the Prince; Raja Hira Singh is adorned from head to toe in pearls, gold and gemstones, sitting with his sword in his left hand. His clothes, much like the King, are embellished with gold work and he sits upright in the chair next to the King. Ranjit Singh on the other hand, can be seen with a simpler look: with a heart of a warrior, his focus remained resolute and he was not easily distracted by jewels and the wealth of the Sikh Empire during his reign. In most work featuring him, when he is not at battle, he is seen sitting in a larger chair with his legs folded in, his characteristic way of sitting.
The exhibition in its essence is a walkthrough of the life of Ranjit Singh. In the first room titled ‘Prelude to War’, the audience is introduced to the King of the time, Jai Singh, whose son was killed in battle in 1785. His widow, Sada Kaur then forged an alliance between her three-year-old daughter and Ranjit Singh, a decision which led him to be as prolific a king as he was. After the introduction, the second room talks visitors through the exquisitely crafted armoury that Singh’s army used. Titled ‘Masters of War’, this room details the King’s ruthlessness, courage and ambition and also brings attention to his masterful swordsmanship. This section contains many pieces facilitated by the Wallace Collection’s permanent collection, the presence of which, combined with the illustrious Toor Collection, symbolises a unique synergy that has brought together the pieces of the once-celebrated Sikh Empire.
Continuing into rooms titled ‘The Lahore Durbar’, ‘Firangis’ and ‘Legacies’, the exhibition narrates the story of Ranjit Singh’s reign and his ability to keep the East India Company at bay. In a peaceful alliance with the British, the exhibition emphasises Singh’s ability to maintain peace and power at a time when most of India had been conquered. It also incorporates work not just by Indian artists but also by French, German and British artists, notably by renowned firangis artists (a word which in its essence refers to French and German people). These include Joseph-Désiré Court’s General Jean-François Allard, an oil painting on canvas made in France in 1837 and Lieutenant James Rattray’s General Avitabile’s Peshawar Residence, a watercolour and ink on paper made in 1840.
As a whole, the exhibition puts together the story of a formidable king. It brings together the legacy of the Sikh Empire, uniting the large throne, the jewellery, the armoury and the painting all together within the Wallace Collection. With an audio guide providing details on certain works, an overview of the exhibition and music for each room, the curators go to lengths to ensure the formation of a clear and detailed painting in the minds of the audience of this forgotten legacy.
Ranjit Singh: Sikh, Warrior, King is showing at The Wallace Collection until 20th October.
Entering Ranjit Singh: Sikh, Warrior, King, the first thing that stands out is the size of the artwork. Featuring small, intricately detailed pieces, the exhibition immediately evokes the renowned Indian karigari (skilled handiwork), setting a distinct and captivating tone for the rest of the display. The ornate, the traditional, and the elaborately designed come together to present a range of artworks, including canvas paintings, armoury, jewellery, textiles, and sculptures. Leaving no stone unturned in showcasing Ranjit Singh’s legacy, this exhibition comes across to a global audience as a representation of history through a rich tapestry of artefacts.
Born and brought up in the UK, guest curator Davinder Toor talks about this as not just a Sikh exhibition, but a display of global strength and history. As an art collector, with most works displayed from his own collection, he talks about relying on large museums and galleries to host such exhibitions. Only then, can he preserve and invest in the Sikh legacy and help it reach the recognition that it deserves. While talking to gowithYamo, Toor mentions the colourful global history defined through the pieces, making their presence in London and at the Wallace Collection all the more poignant.
One of the most alluring works in this exhibition - and part of the Toor Collection - is a watercolour painting on paper, incorporating both ink and gold in its elaborate detailing, the piece is attributed to the works of Kehar Singh, a prolific artist who was the court painter at the time. Known to have lost his left eye in his youth, Kehar Singh was able to get Ranjit Singh to turn his face towards his painting with the help of a small sparrow, making him one of the few artists who was able to capture the King’s entire face.
Sitting with Ranjit Singh in the painting is Raja Hira Singh. Distrusting his own sons to be able to handle the level of responsibility the kingdom required, Hira Singh was chosen as the favourite who could one day take the throne. In the piece, with close attention, it is possible to perceive the difference in taste between the King and the Prince; Raja Hira Singh is adorned from head to toe in pearls, gold and gemstones, sitting with his sword in his left hand. His clothes, much like the King, are embellished with gold work and he sits upright in the chair next to the King. Ranjit Singh on the other hand, can be seen with a simpler look: with a heart of a warrior, his focus remained resolute and he was not easily distracted by jewels and the wealth of the Sikh Empire during his reign. In most work featuring him, when he is not at battle, he is seen sitting in a larger chair with his legs folded in, his characteristic way of sitting.
The exhibition in its essence is a walkthrough of the life of Ranjit Singh. In the first room titled ‘Prelude to War’, the audience is introduced to the King of the time, Jai Singh, whose son was killed in battle in 1785. His widow, Sada Kaur then forged an alliance between her three-year-old daughter and Ranjit Singh, a decision which led him to be as prolific a king as he was. After the introduction, the second room talks visitors through the exquisitely crafted armoury that Singh’s army used. Titled ‘Masters of War’, this room details the King’s ruthlessness, courage and ambition and also brings attention to his masterful swordsmanship. This section contains many pieces facilitated by the Wallace Collection’s permanent collection, the presence of which, combined with the illustrious Toor Collection, symbolises a unique synergy that has brought together the pieces of the once-celebrated Sikh Empire.
Continuing into rooms titled ‘The Lahore Durbar’, ‘Firangis’ and ‘Legacies’, the exhibition narrates the story of Ranjit Singh’s reign and his ability to keep the East India Company at bay. In a peaceful alliance with the British, the exhibition emphasises Singh’s ability to maintain peace and power at a time when most of India had been conquered. It also incorporates work not just by Indian artists but also by French, German and British artists, notably by renowned firangis artists (a word which in its essence refers to French and German people). These include Joseph-Désiré Court’s General Jean-François Allard, an oil painting on canvas made in France in 1837 and Lieutenant James Rattray’s General Avitabile’s Peshawar Residence, a watercolour and ink on paper made in 1840.
As a whole, the exhibition puts together the story of a formidable king. It brings together the legacy of the Sikh Empire, uniting the large throne, the jewellery, the armoury and the painting all together within the Wallace Collection. With an audio guide providing details on certain works, an overview of the exhibition and music for each room, the curators go to lengths to ensure the formation of a clear and detailed painting in the minds of the audience of this forgotten legacy.
Ranjit Singh: Sikh, Warrior, King is showing at The Wallace Collection until 20th October.
Entering Ranjit Singh: Sikh, Warrior, King, the first thing that stands out is the size of the artwork. Featuring small, intricately detailed pieces, the exhibition immediately evokes the renowned Indian karigari (skilled handiwork), setting a distinct and captivating tone for the rest of the display. The ornate, the traditional, and the elaborately designed come together to present a range of artworks, including canvas paintings, armoury, jewellery, textiles, and sculptures. Leaving no stone unturned in showcasing Ranjit Singh’s legacy, this exhibition comes across to a global audience as a representation of history through a rich tapestry of artefacts.
Born and brought up in the UK, guest curator Davinder Toor talks about this as not just a Sikh exhibition, but a display of global strength and history. As an art collector, with most works displayed from his own collection, he talks about relying on large museums and galleries to host such exhibitions. Only then, can he preserve and invest in the Sikh legacy and help it reach the recognition that it deserves. While talking to gowithYamo, Toor mentions the colourful global history defined through the pieces, making their presence in London and at the Wallace Collection all the more poignant.
One of the most alluring works in this exhibition - and part of the Toor Collection - is a watercolour painting on paper, incorporating both ink and gold in its elaborate detailing, the piece is attributed to the works of Kehar Singh, a prolific artist who was the court painter at the time. Known to have lost his left eye in his youth, Kehar Singh was able to get Ranjit Singh to turn his face towards his painting with the help of a small sparrow, making him one of the few artists who was able to capture the King’s entire face.
Sitting with Ranjit Singh in the painting is Raja Hira Singh. Distrusting his own sons to be able to handle the level of responsibility the kingdom required, Hira Singh was chosen as the favourite who could one day take the throne. In the piece, with close attention, it is possible to perceive the difference in taste between the King and the Prince; Raja Hira Singh is adorned from head to toe in pearls, gold and gemstones, sitting with his sword in his left hand. His clothes, much like the King, are embellished with gold work and he sits upright in the chair next to the King. Ranjit Singh on the other hand, can be seen with a simpler look: with a heart of a warrior, his focus remained resolute and he was not easily distracted by jewels and the wealth of the Sikh Empire during his reign. In most work featuring him, when he is not at battle, he is seen sitting in a larger chair with his legs folded in, his characteristic way of sitting.
The exhibition in its essence is a walkthrough of the life of Ranjit Singh. In the first room titled ‘Prelude to War’, the audience is introduced to the King of the time, Jai Singh, whose son was killed in battle in 1785. His widow, Sada Kaur then forged an alliance between her three-year-old daughter and Ranjit Singh, a decision which led him to be as prolific a king as he was. After the introduction, the second room talks visitors through the exquisitely crafted armoury that Singh’s army used. Titled ‘Masters of War’, this room details the King’s ruthlessness, courage and ambition and also brings attention to his masterful swordsmanship. This section contains many pieces facilitated by the Wallace Collection’s permanent collection, the presence of which, combined with the illustrious Toor Collection, symbolises a unique synergy that has brought together the pieces of the once-celebrated Sikh Empire.
Continuing into rooms titled ‘The Lahore Durbar’, ‘Firangis’ and ‘Legacies’, the exhibition narrates the story of Ranjit Singh’s reign and his ability to keep the East India Company at bay. In a peaceful alliance with the British, the exhibition emphasises Singh’s ability to maintain peace and power at a time when most of India had been conquered. It also incorporates work not just by Indian artists but also by French, German and British artists, notably by renowned firangis artists (a word which in its essence refers to French and German people). These include Joseph-Désiré Court’s General Jean-François Allard, an oil painting on canvas made in France in 1837 and Lieutenant James Rattray’s General Avitabile’s Peshawar Residence, a watercolour and ink on paper made in 1840.
As a whole, the exhibition puts together the story of a formidable king. It brings together the legacy of the Sikh Empire, uniting the large throne, the jewellery, the armoury and the painting all together within the Wallace Collection. With an audio guide providing details on certain works, an overview of the exhibition and music for each room, the curators go to lengths to ensure the formation of a clear and detailed painting in the minds of the audience of this forgotten legacy.
Ranjit Singh: Sikh, Warrior, King is showing at The Wallace Collection until 20th October.
Entering Ranjit Singh: Sikh, Warrior, King, the first thing that stands out is the size of the artwork. Featuring small, intricately detailed pieces, the exhibition immediately evokes the renowned Indian karigari (skilled handiwork), setting a distinct and captivating tone for the rest of the display. The ornate, the traditional, and the elaborately designed come together to present a range of artworks, including canvas paintings, armoury, jewellery, textiles, and sculptures. Leaving no stone unturned in showcasing Ranjit Singh’s legacy, this exhibition comes across to a global audience as a representation of history through a rich tapestry of artefacts.
Born and brought up in the UK, guest curator Davinder Toor talks about this as not just a Sikh exhibition, but a display of global strength and history. As an art collector, with most works displayed from his own collection, he talks about relying on large museums and galleries to host such exhibitions. Only then, can he preserve and invest in the Sikh legacy and help it reach the recognition that it deserves. While talking to gowithYamo, Toor mentions the colourful global history defined through the pieces, making their presence in London and at the Wallace Collection all the more poignant.
One of the most alluring works in this exhibition - and part of the Toor Collection - is a watercolour painting on paper, incorporating both ink and gold in its elaborate detailing, the piece is attributed to the works of Kehar Singh, a prolific artist who was the court painter at the time. Known to have lost his left eye in his youth, Kehar Singh was able to get Ranjit Singh to turn his face towards his painting with the help of a small sparrow, making him one of the few artists who was able to capture the King’s entire face.
Sitting with Ranjit Singh in the painting is Raja Hira Singh. Distrusting his own sons to be able to handle the level of responsibility the kingdom required, Hira Singh was chosen as the favourite who could one day take the throne. In the piece, with close attention, it is possible to perceive the difference in taste between the King and the Prince; Raja Hira Singh is adorned from head to toe in pearls, gold and gemstones, sitting with his sword in his left hand. His clothes, much like the King, are embellished with gold work and he sits upright in the chair next to the King. Ranjit Singh on the other hand, can be seen with a simpler look: with a heart of a warrior, his focus remained resolute and he was not easily distracted by jewels and the wealth of the Sikh Empire during his reign. In most work featuring him, when he is not at battle, he is seen sitting in a larger chair with his legs folded in, his characteristic way of sitting.
The exhibition in its essence is a walkthrough of the life of Ranjit Singh. In the first room titled ‘Prelude to War’, the audience is introduced to the King of the time, Jai Singh, whose son was killed in battle in 1785. His widow, Sada Kaur then forged an alliance between her three-year-old daughter and Ranjit Singh, a decision which led him to be as prolific a king as he was. After the introduction, the second room talks visitors through the exquisitely crafted armoury that Singh’s army used. Titled ‘Masters of War’, this room details the King’s ruthlessness, courage and ambition and also brings attention to his masterful swordsmanship. This section contains many pieces facilitated by the Wallace Collection’s permanent collection, the presence of which, combined with the illustrious Toor Collection, symbolises a unique synergy that has brought together the pieces of the once-celebrated Sikh Empire.
Continuing into rooms titled ‘The Lahore Durbar’, ‘Firangis’ and ‘Legacies’, the exhibition narrates the story of Ranjit Singh’s reign and his ability to keep the East India Company at bay. In a peaceful alliance with the British, the exhibition emphasises Singh’s ability to maintain peace and power at a time when most of India had been conquered. It also incorporates work not just by Indian artists but also by French, German and British artists, notably by renowned firangis artists (a word which in its essence refers to French and German people). These include Joseph-Désiré Court’s General Jean-François Allard, an oil painting on canvas made in France in 1837 and Lieutenant James Rattray’s General Avitabile’s Peshawar Residence, a watercolour and ink on paper made in 1840.
As a whole, the exhibition puts together the story of a formidable king. It brings together the legacy of the Sikh Empire, uniting the large throne, the jewellery, the armoury and the painting all together within the Wallace Collection. With an audio guide providing details on certain works, an overview of the exhibition and music for each room, the curators go to lengths to ensure the formation of a clear and detailed painting in the minds of the audience of this forgotten legacy.
Ranjit Singh: Sikh, Warrior, King is showing at The Wallace Collection until 20th October.
