The 200-year-old paintings blocked from leaving the UK

A unique collection of vibrant Hindu paintings has been placed under an export bar, preventing their departure from the UK. The Devi Mahatmya series, which vividly illustrates the narrative of Hinduism’s Divine Mother, is valued at £280,000, according to the Department for Culture, Media and Sport (DCMS).

A DCMS spokesperson highlighted that the 56 paintings offer a significant opportunity for the study of this artistic genre. The export prohibition aims to provide a UK gallery or institution with sufficient time to acquire the works for the nation.

This nearly complete series portrays one of Hinduism’s most crucial narratives, utilising gold and silver paint to depict scenes ranging from serene worship to intense battles.

Among the 200-year-old artworks is a painting showing the defeated gods Vishnu and Shiva appealing for assistance, a scene believed to be unique to this particular collection.

open image in gallery

The spokesman said there are no other comparable series surviving in the UK, and the paintings are a reminder of the cultural connection between the UK and the Punjab region.

More than a million Hindus live in the UK, with the paintings presenting an opportunity for their culture to be both researched and celebrated.

Culture Minister Baroness Twycross said: “This series is not only beautiful, but unique in the UK.

“With no other near-complete similar narratives existing in our country, it’s vitally important we take the chance now to keep this series in the UK and allow researchers crucial time to unlock its secrets.”

The decision follows the advice of the Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest (RCEWA).

Committee member Pippa Shirley said: “In these small, jewel-like paintings, an epic unfolds before our eyes. We see the Devi, the divine mother of Hinduism in her various manifestations, as the terrifying, multi-armed Kali slaying demons in ferocious battles contrasted with scenes of courtly life, worship and serene landscapes populated by a menagerie of animals.

“They were prompts for storytelling, recitations of Sanskrit hymns, at weddings or family gatherings and are remarkable for their completeness.

“They throw light on artistic workshop practices and raise questions about social and devotional use and collecting this kind of material in the colonial period.

“They are also a powerful statement of divine female power. With no comparable set in the country, it is important that they remain here so they can be more fully understood and enjoyed by the widest possible audience.”