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R anjit Singh (1799-1849) – founder of the Sikh Empire, described by his devoted subjects as the “Lion of Punjab” – was something of a complex character: a sickly child who became a daredevil boy soldier, a military strategist turned diplomatic Maharaja, an illiterate patron of the arts, an opium fiend, owner of the Koh-i-Noor diamond and husband to some 20 wives. Singh’s improbable, era-defining, life can now be charted in Ranjit Singh / Sikh, Warrior, King, a new blockbuster exhibition at the Wallace Collection in London, which is proudly sponsored by Sotheby’s, in conjunction with the Islamic, Orientalist and Middle Eastern Art sales, April 11-24.
The exhibition is a dazzling portrait-in-objects – weapons, paintings, maps, textiles, clothes and jewellery, even the Maharaja’s golden throne – conjuring up a character and court that defied expectations and enemies alike. The survey has been co-curated by Wallace Collection Director, Dr Xavier Bray, and guest curator, Davinder Toor, a leading scholar of Sikh art. Born in what is now the Punjab region of Pakistan, Ranjit Singh was the son of the chief of a warring misl – or confederacy – in the north-western part of the Indian subcontinent. He endured smallpox – which left him blind in one eye – and being orphaned at an early age. Yet his resilience was remarkable: he won his first battle at 17. As the exhibition opens, its two curators discuss the challenges of capturing the transformational impact of such a potent and enigmatic figure.
Sotheby’s: What was your motivation for staging this exhibition at the Wallace Collection?
Dr Xavier Bray: We have an incredible collection of arms and armour, predominantly European but there is an extremely high-quality collection of armour from the Ottoman Empire, Persian Empire and from the Indian sub-continent. There is a relatively strong section on armour that was made for the Sikh kingdom, for the Sikh Empire, for its head, Ranjit Singh, and his officers. At the centre of it, is a sword and scabbard that is traditionally thought to be Ranjit Singh’s. A lot of Sikh people come and see the collection and look at it and study it and admire it. But it was a chance meeting with Davinder who had done this fantastic show at the Brunei Gallery called Empire of the Sikhs, when I suddenly realised there is a fascinating historical context to tell a very interesting story. What we had was the tip of the iceberg. It opened up a whole area that hadn’t really been looked at.
Davinder Toor: Ranjit Singh is neither a saint nor a villain. We have to see him as being human. I think once you tap into that aspect of Ranjit Singh, with all of his failings, then you can suddenly really look at the facts. What does it actually mean to be a warrior? We’re in a museum with tons of arms and armour, no-one ever really thinks about the cutting of flesh.
Sotheby’s: Can you say a little about the range of exhibits?
XB: Davinder and I were very keen that this show is not just an armour show but it’s set into context. You’ll see miniatures, you will see fabric, you will see photographs, you will see a gold throne. It’s a historical narrative, but told through objects. It’s an exhibition about a person, Ranjit Singh. But it’s also about his court, it’s about the fact he brought in foreigners from France and Italy to help him fight the British East India Company and the Afghans. So, it’s a multi-disciplinary exhibition but with a very beautifully-managed narrative thread that goes through it.
DT: The Sikh arms and armour here at the Wallace are amongst the finest anywhere in the world. It’s quite fascinating to think that Ranjit Singh’s sword is here, it’s not in the Royal Armoury, it’s not in the V&A, it’s not in the British Museum. Then we show other Sikh objects which link back to that era. Through them, we investigate these personalities; through textiles, paintings and jewels. And there is some material in there which also speaks to the common man or woman of the time. For example, in the first room, where we trace the origin story of Ranjit Singh and the underpinning of his rise to power, we have a very rustic quoit from the 18th century which was a projectile weapon. Later on, you find very decorative ones but actually this is quite a rustic one with almost primitive zig-zag chiselled designs on it.
Sotheby’s: Did Ranjit Singh encourage a cosmopolitan court?
DT: Very much so. Remember that he is a Sikh and Sikhs make up ten percent of the population of Punjab at the time; 70 percent is Muslim, another 20 percent are Hindu. So, it’s a secular state, you rise through merit. Most of his closest courtiers are non-Sikhs. And he then welcomes westerners.
XB: He was extremely tolerant. He cherished Hindu, Islam, Jews, Christians. As long as they paid taxes, they could live relatively freely; and it meant he was surrounded by courtiers who could bring him interesting knowledge.
Sotheby’s: The demise of the Sikh Empire, following Singh’s death, was largely due to the English. Do you address that?
DT: Ranjit Singh knew that the British were stronger than him. He thinks, well what do I do? Let us become friends. He signs this treaty of perpetual friendship with the British. This is the days of the East India Company, it’s not yet the British Raj, that comes about 20 years after Ranjit Singh. He never engages the British. They never come to blows, the collapse of the empire only happens after his death.
XB: One of the curious and tragic things is his legacy: the moment he dies, there is a grab for power. It’s the most complex interweaving of killings and disasters. And then Duleep Singh, his supposed son, is brought over and becomes Queen Victoria’s favourite. He almost forgets his cultural background.
Sotheby’s: And finally, do you each have a favourite object in the exhibition?
XB: The image of Ranjit Singh on his deathbed; it’s the most astonishing high-quality miniature. you see him lying out on his funeral pyre and then you’ve got lamenting figures down below.
DT: My favourite piece is the cover image of the exhibition book. It shows the Maharaja as he is described, he is not even sitting in his throne, he didn’t like to sit in his throne. He sat in his basket weaved chair with his legs tucked up underneath him. When you see it in the flesh, you are taken by how fine and small it is. And it’s a very brave picture: there are many pictures of Ranjit Singh that don’t show his blind left eye. It’s full-on.
