Who painted Hanuman, Sita, Rama and Lakshmana?

Hanuman, Sita, Rama and Lakshmana was painted by Lalita Devi in 1973.

Where can I see Hanuman, Sita, Rama and Lakshmana?

Hanuman, Sita, Rama and Lakshmana is held by Victoria and Albert Museum.

What movement is Hanuman, Sita, Rama and Lakshmana?

Hanuman, Sita, Rama and Lakshmana is associated with Contemporary Abstract.

Artwork

Hanuman, Sita, Rama and Lakshmana

Lalita Devi , 1973

Hanuman, Sita, Rama and Lakshmana is a paint painting by the Contemporary Abstract artist Lalita Devi. It dates from 1973 and is held in the collection of the Victoria and Albert Museum.

About this work

Overview

Created in 1973, this work is a Madhubani painting by Lalita Devi, executed with ink and colored pigments on paper. It portrays a scene from the Hindu epic Ramayana, showing the monkey god Hanuman kneeling before the figures of Sita, Rama and Lakshmana, all set within a stark black‑and‑white diamond‑shaped border.

Subject & Meaning

The composition draws on a pivotal moment of devotion in the Ramayana, where Hanuman, the devoted servant of Rama, presents himself before the royal couple and Rama’s brother. The gathering of the divine and heroic figures underscores themes of loyalty, reverence, and the protective role of the deity within the narrative.

Technique & Style

Rendered in the characteristic Madhubani manner, the painting employs flat, saturated hues of red, blue and yellow, outlined with bold black lines. The figures are stylized with exaggerated proportions, intricate patterned garments, and abundant jewelry, while the surrounding space is filled with dense floral and vegetal motifs that create a rhythmic, decorative surface.

History & Provenance

Madhubani art originates from the Mithila region of Bihar, where it traditionally decorated the walls of rural homes for ritual and fertility purposes. By the mid‑20th century, artists like Lalita Devi began producing works on paper for a broader market, bringing the regional style to national and international attention.

Context

The painting reflects the transition of Madhubani from a domestic, ceremonial practice to a recognized fine‑art genre. Its subject matter aligns with the Hindu tradition of illustrating mythological episodes, while its vivid palette and graphic clarity echo the visual language that made the style appealing to collectors and museums during the 1970s.