The Churning of the Cosmic Ocean

The Churning of the Cosmic Ocean

From Bhagavata Purana, from Mysore in Karnataka

19th Century, Water colour on Paper

The Churning of the Cosmic Ocean to bring forth life is a epic story from Bhagavata Purana. The story survived its life through passage of time with modus operandi being Indian traditional painting which is mostly religious in theme. Different locations within India have seen influences of local artists & common styles of painting in bringing life to this story. The selected painting is of early 19th century from Mysore, which is very close to the great Vijayanagara Empire, but very often this style of drawing, overall colour scheme, details shows close resemblance to Tanjore style of painting which is much more famous from Karnataka. Although the characterizations of the story is similar, but the overall effect in much more muted.




The painting displays number of characters from devas who are forces of goodness to asuras the demons of darkness. The event starts with the assemblage of devas and asuras at the very moment of need when Shri, the goddess of wealth and fortune disappeared from earth. Since the world was abandoned of joy, the devas and asuras came along as Vishnu coaxed them to conjoin their efforts to churn her out of the cosmic ocean. Under Vishnu’s instruction, the bird king Garuda carried Meru, the mountain king, to the centre of the ocean to serve as the spindle of the churn. Akupara, the turtle king, prevented the mountain from sinking. The serpent king Vasuki, wound himself round the mountain for the devas who caught his tail and the asuras who grabbed his neck to begin churning the ocean. During the churning of the Cosmic ocean, all the poison of selfishness surfaced which threatened life on earth. Neither gods nor demon knew how to get rid of it, then Lord Shiva drank it himself to save the world, but his consort Paravti put her hands around his neck to keep the poison from going down his throat. Finally the ocean frothed to reveal the delightful goddess Shree and a pot of amrita emerged which both the devas and asuras fought over. Following the fight, Vishnu took his female avatar of Mohini to distract the asuras while she poured the drink down the throats of the devas. Thus the devas defeated the asuras for life and claimed the treasures of the ocean for themselves.



This style of Mysore painting is still a very common practice by local artist. The important features of this painting would the linear arrangement of the devas and asuras on the two ends of the canvas to narrate the story. The space has been divided thoughtfully to accommodate earth, ocean surface and the sky although the canvas is an elongated landscape format. The facial features are distinct, which are sharply done with black outline for eyes, lips, the crown for the devas. The pinnacled crowns are very common to define social hierarchy with respect to the importance of the character. The proper body structure of all the characters symbolize power or physical strength of each which is used in churning the cosmic ocean. The central focus of the painting is maintained well by the orientation of the two groups with every character visually connected to the central figure standing on the tortoise.



Reference Reading

1. The Presence of Shiva by Stella Kramrisch

2. Hindu myths a source book by Wendy Doniger, Wendy Doniger O'Flaherty

3. The Hindu World by Sushil Mittal, G. R. Thursby

4. Hindu Art by T. Richard Blurton

5. Exploring India’s sacred art: selected writings of Stella Kramrisch

Krishna declaring the end of Mahabharata War by blowing the Conch Shell

Krishna declaring the end of Mahabharata War by blowing the Conch Shell

Folio from an illustrated manuscript of RazmNama, a Persian translation of Mahabharata

Mughal, Dated – 1598 AD, Period of Akbar

Painting Sise – 17 x 27 cm.



The selected painting is part of Razmnama which was commissioned in the court of Shen Shah Akbar by Badouni illustrating the great Indian Hindu epic Mahabharata. Mughal Emperor Akbar had keen interest in all religion, so the artist was once again asked to illustrate Ramayana, which is another great epic of Hindu religion. The emperor desired to minimize the hatred of Muslims for Hindus and believing it to arise from mutual ignorance, ordained that certain Hindu text should be translated into Persian.




The compilation of different episodes of Mahabharata is known as Razmnama, which was probably completed in 1588 but illustrated copies, including the great folios are now in the palace library at Jaipur, was not completed before 1595. The Razmanama is divided into four separate volumes and illustrated with 168 miniatures. Prepared between 1583/4 and 1588 AD these 344 illustrations definitely occupy a very important place in history and development of Mughal painting.



During this period local Hindu artists were working for the Mughal courts which had their own schools of paintings nourished over the years by Persian artists. It was a great dilemma for the local Hindu artist to work under such circumstances although they were well aware of these great epics. The Court paintings portrayed characters and nature in more heroic and royal style as against the traditional style which was more calm and softer in appearance.





In this scene Krishna is shown as the main character of the painting as he his blowing the conch shell to announce the end of the war between the Kaurava’s and Pandavas. While he blows the conch the five Pandavas are depicted more in supportive stature next to him and the kauravas are lying on ground as if highlighting the victory of good over the bad after a long episode of warfare. The painting also includes supportive intervention of the three main terrestrial gods/deities, i.e. Brahma, Vishnu and Shiva as per Hindu mythology. Moreover the scene reminds us of its importance along with the Krishna’s heroic and royal portraiture which was common in these illustrations. Here Krishna is no longer the romantic lover of Radha or a mischievous guy playing with cowherd females but a well groomed youth of Mughal tradition with vigor of Rajput noble. This picture has a lyrical splendor, a certain wild elation quite distinct from previous Indian paintings which did provide finer insights about facial features, clothes, beauty of the nature.



The scene is portrays Krishna’s life after he has left his cowherd. There is no attempt to stress his romantic qualities or to present him as a lover. He appears rather as the great fighter, the slayer of demons. Such a portrayal is what we might perhaps expect from a Mughal edition. The paintings are remarkable interpretations, investing Krishna with an air of effortless composure, and exalting his princely grace. The style is notable for its use of smoothly flowing outline and gentle shading. Light hues of blue are very mildly used to express the sky along with the three deities from heaven. Features like the tree, a hint of the mountain with 3 smooth strokes on the right corner along with the water body with swans in left corner explains the location of the scene. Although they are include as part of the painting as supportive elements they do not distract the viewer from noticing Krishna in the very first attempt.



As it was common to write about the painting in the Mughal court the bottom space does include few texts which is written in Urdu / Persian which simply asserts the origin of the folio.



Reference Reading

1. Mughal & Rajput Painting. Part 1. Volume 3. by Milo Cleveland Beach

2. Hindu Art by T Richard Blurton

3. Indian Miniature Paintings by Anjan Chakraverty

4. Cultural History of India by Om Prakash

Portrait of Radha

Portrait of Radha


Kishan Gargh Darbar, Rajasthan

Early Circa 1760 AD



Late 17th - 18th century has seen the rise of miniature paintings in India, wherein Rajasthan is one such location which produced variety of them. Under the Marwar School of paintings Kishangarh style evolved and flourished under the patronage of Raja Man Singh in late 17th Century. Kishangarh was founded by the 8th son of Raja Udai Singh of the Rathore dynasty of Jodhpur state in 1609 which was very close to Ajmer. The rulers were closely connected with the Mughal Court and adopted similar style of sophisticated living with rich taste in art, poetry and culture. While Mughal Courts were encouraging miniature paintings under the auspice of talented Persian artists, local rulers continued to practice in traditional style of miniature paintings which evolved from Rajput paintings.

Generations after generations the family adopted the cult of Krishna as a way of life which in the later years greatly impacted the life and mind of Raja Savant Singh. He was very much influenced by his father’s dedication towards art & eventually followed the path of cultivating a great taste for poetry early in his life. He contributed significantly in expanding the volume of poetry dedicated to Krishna bhakti.

Around 1750, new trends evolved for depicting the love and affection of Radha & Krishna in the new form and the credit for revolutionizing this traditional cult goes to royal coutier & artist Mordhavaj Nihal Chand. It is being commonly said that his paintings of Radha and Krishna were synonymous representation for the love life of Vanithani and Nagri Dass during 1735 to 1738. It is also said that she was a singer and poetess herself so maybe she influenced him by her impact.
These paintings definitely have a distinct style of their own because of which they can be categories under Kishangarh style. This portrait painting of Vanithani represents and defines clearly the unique style, pattern and order of these paintings. Similar to miniature paintings tradition, there is no lack of emphasis in portraying all the necessary details required to describe the beauty of gorgeous Vanithani. Features like sharp eyebrows, pointed eyes like a deer, transparent odhni or the veil behind which the black hair can be see properly, the kundan jewellary, the bangles, the heena in her palm and the tip of the fingers and finally the two flowers in her hand just provide enough evident signs to define the charm and elegance of a beautiful women. The painting is more of an idealized state of appearance of a woman, but we can be sure enough to associate these resemblances with poetess Vanithani.

This painting from Kishnagarh although distinctly differs in style from Mughal court paintings, but both of them share a common element of thought. The artist practically assembles all the idealistic entities from human life to nature to define ‘beauty’ or to define beautiful painting but lack in providing any depth to the scene. The overall composition and representation just limits itself within the set parametric guidelines which does not include and three dimensional depths to the composition. The viewer is not attracted towards the realism of the painting but towards the finesse in sharp features, like eyes, eyebrows, kajal, etc. The interest is generated purely for attention provide by the artist in delivering the factual information along with a brilliant choice of pastel colours.

Reference Reading
1. Splendour of Rajasthani Painting by Jai Singh Neeraj
2. A History of Indian Painting – The Modern Period by Krishna Chaitanya

Bhagavata Puran - Mysore Painting, Karnataka

The Churning of the Cosmic Ocean

Time Frame: 19th Century

From Bhagavata Purana, from Mysore in Karnataka

The Churning of the Cosmic Ocean to bring forth life is a epic
story from Bhagavata Purana. The story survived its life through
passage of time with modus operandi being Indian traditional
painting which is mostly religious in theme. Different locations
within India have seen influences of local artists & common styles
of painting in bringing life to this story. The selected painting is of
early 19th century from Mysore, which is very close to the great
Vijayanagara Empire, but very often this style of drawing, overall
colour scheme, details shows close resemblance to Tanjore style of
painting which is much more famous from Karnataka. Although
the characterizations of the story is similar, but the overall effect in
much more muted.


The painting displays number of characters from devas who are
forces of goodness to asuras the demons of darkness. The event
starts with the assemblage of devas and asuras at the very moment
of need when Shri, the goddess of wealth and fortune disappeared
from earth. Since the world was abandoned of joy, the devas and
asuras came along as Vishnu coaxed them to conjoin their efforts to
churn her out of the cosmic ocean. Under Vishnu’s instruction, the
bird king Garuda carried Meru, the mountain king, to the centre of
the ocean to serve as the spindle of the churn. Akupara, the turtle
king, prevented the mountain from sinking. The serpent king
Vasuki, wound himself round the mountain for the devas who
caught his tail and the asuras who grabbed his neck to begin
churning the ocean.

During the churning of the Cosmic ocean, all the poison of
selfishness surfaced which threatened life on earth. Neither gods
nor demon knew how to get rid of it, then Lord Shiva drank it
himself to save the world, but his consort Paravti put her hands
around his neck to keep the poison from going down his throat.
Finally the ocean frothed to reveal the delightful goddess Shree and
a pot of amrita emerged which both the devas and asuras fought
over. Following the fight, Vishnu took his female avatar of Mohini
to distract the asuras while she poured the drink down the throats
of the devas. Thus the devas defeated the asuras for life and
claimed the treasures of the ocean for themselves.


This style of Mysore painting is still a very common practice by local
artist. The important features of this painting would the linear
arrangement of the devas and asuras on the two ends of the canvas
to narrate the story. The space has been divided thoughtfully to
accommodate earth, ocean surface and the sky although the canvas
is an elongated landscape format. The facial features are distinct,
which are sharply done with black outline for eyes, lips, the crown
for the devas. The pinnacled crowns are very common to define
social hierarchy with respect to the importance of the character.
The proper body structure of all the characters symbolize power or
physical strength of each which is used in churning the cosmic
ocean. The central focus of the painting is maintained well by the
orientation of the two groups with every character visually
connected to the central figure standing on the tortoise.



Reference Reading
1. The Presence of Shiva by Stella Kramrisch
2. Hindu myths a source book by Wendy Doniger, Wendy Doniger
O'Flaherty
3. The Hindu World by Sushil Mittal, G. R. Thursby
4. Hindu Art by T. Richard Blurton
5. Exploring India’s sacred art: selected writings of Stella
Kramrisch