THE prestigious British Museum in London has acquired a unique watercolour depicting a traditional musical performance in mid-18th century northern India after successfully raising the £440,000 required to buy the rare painting.
Trumpeters by Nainsukh of Guler (1710-1778), described by experts as a delicate miniature of a “rarely found calibre”, had been blocked for export by the UK’s ministry of Digital, Culture, Media and Sport in 2018 in the hope of preventing its departure from Britain.
With the support of the UK’s Art Fund, the National Heritage Memorial Fund (NHMF) and the Brooke Sewell Permanent Fund, the British Museum announced this week that the “masterpiece” has now joined its collection and has gone on free display in the museum’s Sir Joseph Hotung Gallery of China and South Asia.
“Nainsukh, whose name translates as ‘Delight of the Eyes’, is one of India’s greatest courtly artists, and this outstanding painting showcases his gift for complex composition and precise observation,” said Imma Ramos, curator at the British Museum.
“It was painted at the height of his career while he was working for the ruler of Jasrota, Raja Balwant Singh. Its jewel-like colour, intricate detail and poetic mood suggest it would have been seen up close and studied at leisure, enjoyed privately or among guests. We are delighted that it is now in a public collection for the first time, where it can be enjoyed by visitors for its beauty, and help further study of South Asian art,” Ramos said.
The painting, thought to have been created between 1735-40, depicts a traditional musical performance in northern India.
It shows seven musicians playing Pahari horns with long pipes known as turhi, their cheeks puffed out with the effort. It is an unusual example of the artist’s work, combining aspects of Nainsukh’s early work with some of his later achievements.
It has been in a private collection since being purchased by the prominent British artist Winifred Nicholson (1893-1981) during a tour of India, Burma (Myanmar) and Ceylon (Sri Lanka) in 1919-20.
After Nicholson’s death, it remained with her family and has now entered a public collection for the first time at the famous London museum.
The decision to defer the painting''s export licence followed a recommendation by the Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest, administered by the UK''s Arts Council.
They made their recommendation on the grounds that the painting is of outstanding aesthetic importance and of significant use in the study of Indian history.
"This beautiful work has enormous historical value and will be admired by visitors from around the world as it goes on display at the British Museum,” said UK arts minister Helen Whately.
"Export bars are put in place to save masterpieces like this one for the nation, and I''d like to say a massive thank you to everyone whose generous support made this acquisition possible," she said.
Nainsukh is the most famous and highly regarded artist of the Pahari or ‘Hill’ style of painting, which developed in the Punjab hills of north-west India.
He is famous for his sensitively observed portrayals of people and places, conveyed through highly original and dynamic compositions.
Three other masterful paintings by Nainsukh of Guler are in the collection of the British Museum since they were donated in the 1940s.
Together these paintings can be seen and studied alongside the British Museum’s extensive South Asia collections, allowing for further understanding of the full scope of the Pahari painting tradition.
Sir Peter Luff, Chair of the NHMF, noted: “This miniature watercolour is a stunning example of Pahari art".
"The Trustees of the National Heritage Memorial Fund agreed it was imperative to save ‘The Trumpeters’ for the nation and keep it on public display so that art enthusiasts and historians can enjoy and engage with the painting for generations to come,” he said.
The NHMF was set up in 1980 to save the most outstanding aspects of British heritage, in memory of those who have given their lives for the UK.
Rahul’s casual dismissal of that controversy has added fuel to the fire
Rahul Bhatt sparks controversy over 'insensitive' remarks about sisters Alia and Pooja Bhatt
Rahul Bhatt, fitness trainer and son of veteran filmmaker Mahesh Bhatt, has found himself at the centre of a social media storm following controversial remarks about his half-sister, Alia Bhatt. In a recent interview, Rahul drew comparisons between Alia and their older sister Pooja Bhatt, calling the latter more talented, attractive, and principled.
The comments, which many have labelled inappropriate and insensitive, have sparked widespread criticism online. During the interview, Rahul stated, “In my opinion, she (Alia) is not even half of what my real sister Pooja is. Not in talent, not in looks, not in terms of being sexy. In front of my sister, she is ‘paani kam chai’ (watery tea). Amongst the siblings, the most talented and the most moralistic is Pooja.”
Social media users reacted strongly, questioning why Rahul would compare his sisters in such personal terms. Several users were particularly disturbed by his reference to their appearance and sex appeal, pointing out that such comparisons within a family cross boundaries of propriety. One comment read, “This is disturbing. Why talk about your sisters like that? It’s not just weird, it’s wrong.” Another post said, “There’s nothing respectful about comparing your siblings’ attractiveness in public.”
The backlash also reignited conversation around a decades-old controversy involving Mahesh Bhatt and Pooja Bhatt. Rahul was asked about the infamous 1990s magazine cover where the father-daughter duo shared a kiss, which had stirred public outrage at the time. Dismissing the criticism, Rahul said, “It doesn’t make any difference. It’s like water off a duck’s back. We know the truth, and we’ve seen everything since childhood.”
Rahul’s casual dismissal of that controversy has added fuel to the fire, with critics saying it reflects a broader issue of the Bhatt family being insensitive to public perception and boundaries. Many users questioned the need for bringing up old incidents in a bid to defend new and equally questionable statements.
As of now, neither Alia Bhatt nor Pooja Bhatt has issued any public response to Rahul’s remarks. Both actors, known for their significant contributions to Indian cinema, have typically kept family matters private despite living in the public eye.
This episode has also sparked debate over the role of public figures in maintaining respect when discussing family matters in the media. Observers say such comments, especially when involving women’s appearance and personal qualities, reinforce problematic attitudes and fuel unnecessary controversies.
While Rahul Bhatt is not as prominent in the entertainment industry as his father or sisters, his comments have made headlines and placed the Bhatt family in the spotlight for reasons beyond their creative work. For many, this serves as a reminder that public platforms come with responsibility, and that family ties should not be trivialised or dissected for attention or comparison.
The backlash is unlikely to subside soon, especially as fans and followers of Alia and Pooja continue to express disappointment over the way the situation has unfolded. Whether or not Rahul chooses to clarify or apologise remains to be seen.