A unique set of colourful Hindu paintings have been made subject to an export bar to ensure they cannot leave the UK.
The Devi Mahatmya – illustrating the tale of the Divine Mother of Hinduism – are valued at £280,000, according to the Department for Culture, Media and Sport.
A DCMS spokesman said the 56 paintings present an opportunity for the study of this genre of work and the export bar will allow time for a UK gallery or institution to acquire them for the nation.
The near-complete series of paintings depicts one of the most important narratives in Hinduism, with gold and silver paint used to portray scenes that range from quiet worship to violent battles.
The 200-year-old works of art include a painting showing defeated gods Vishnu and Shiva appealing for help in a scene believed to be unique to this series.
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.”
