This article analyses a selection of portraits that decorate the apartments of the Garh Mahal, a royal palace located in the city centre of Jhalawar in southern Rajasthan. The paintings were executed in two distinct periods: the first set dates from the time of Maharaj Rana Prithvi Singh (r. 1845–75) and can be dated to the mid-1860s; the second one was commissioned by Maharaj Rana Bhawani Singh (r. 1899–1929) between 1918 and 1921. The purpose of this investigation is to highlight the evolution and the peculiar ways in which the rulers of Jhalawar, who belong to the Jhala Rajput clan, visually manifested their legitimation to power and reinforced their political relevance after attaining independence from Kota in 1838. Their ideologies and aspirations are revealed by precise stylistic strategies and carefully assembled dynastic groups of portraits. In the dynastic groups, Jhala rulers are juxtaposed with other Rajput monarchs and Pushti Marg religious figures to emphasize royal and devotional connections. The first group of portraits focuses on anachronistic royal affiliations executed in ‘Rajasthani’ style, a visual idiom not attributable to a specific school of painting and suggesting, therefore, a Rajput social and political cohesion. The second group highlights Bhawani Singh’s relationship with his contemporaneous royal peers and Nathdwara religious figures. This set of portraits was executed by a team of painters supervised by the famous Ghasiram Hardev Sharma of Nathdwara (1869–1931). The murals display a variety of visual idioms, including the traditional Nathdwara miniature painting style, ‘photographic aesthetic’, and Victorian academic realism.

中文翻译：

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肖像画与政治：贾拉瓦尔 Garh Mahal 绘画中的皇室和虔诚效忠

本文分析了一系列用于装饰位于拉贾斯坦邦南部贾拉瓦尔市中心的皇家宫殿 Garh Mahal 公寓的肖像。这些画作是在两个不同的时期完成的：第一组可以追溯到 Maharaj Rana Prithvi Singh（r. 1845–75）的时代，可以追溯到 1860 年代中期；第二个是由 Maharaj Rana Bhawani Singh (r. 1899–1929) 于 1918 年至 1921 年间委托进行的。这项调查的目的是强调属于 Jhala Rajput 氏族的 Jhalawar 统治者的演变和特殊方式，在 1838 年从哥打获得独立后，视觉上展示了他们的权力合法性并加强了他们的政治相关性。他们的意识形态和抱负通过精确的风格策略和精心组装的王朝肖像群来揭示。在王朝团体中，贾拉统治者与其他拉杰普特君主和普什蒂玛格宗教人物并列，以强调皇室和虔诚的联系。第一组肖像侧重于以“拉贾斯坦”风格执行的不合时宜的皇室隶属关系，这种视觉习语不能归因于特定的绘画流派，因此暗示了拉杰普特的社会和政治凝聚力。第二组突出了巴瓦尼·辛格与他同时代的皇室同僚和 Nathdwara 宗教人物的关系。这组肖像画由著名的 Nathdwara 的 Ghasiram Hardev Sharma（1869-1931 年）监督的一组画家完成。壁画展示了各种视觉习语，