Islamic Art & Architecture of Taj Mahal

I have compiled these pictures of Taj Mahal, Agra which clearly showcases the extent of perfection that Islamic Art preached in India at that point of time. The beauty of this place lies within its central core, that is the main tomb, which is Taj Mahal set amidst lush green geometric lawn in front.

Radha being persuaded by her handmaiden, & the conversing with Krishna

Radha being persuaded by her handmaiden, & the conversing with Krishna

Kangra in Himachal Pradesh, late 18th century

Water colour on paper

Kangra was an important location from the hills of Himachal while most of the Indian subcontinent was under the reign of Mughal Emperor Shah Jehan. The power of Kangra was due to its appropriate locations and the fort which was ruled by Sansar Chand. This great Hindu ruler was a connoisseur of art from a very early stage in his life with keen interest in painting the scenic beauty of the hills camouflaged with the stories of Krishna from the epics of Mahabharata. The subject matter of Kangra miniatures shows the cult of Krishna which is understandable in context to the Rajput society where arranged marriages were the norms and the vibrantly romanticized character of Krishna with gopis, especially with Radha a married women was fascinating.

Late periods of 18th century have seen mature stages of Kangra painting, which were closer to Raja Sansar Chand’s death. This painting is at its peak in defining the beauty of nature along with Radha, the female who is always the important feature of attention. The canvas is divided in two haves with abundant greenery of trees with flowers which have curled up to create the two diagonal spheres in the canvas to portray the story of Radha anxiously waiting for her lover Krishna while being persuaded by her handmaid and the other half shows how she is pleased to be in company with Krishna.


The elegant portrayal of Radha’s body in the first space is complimentary to the flowering tree next to which she sits on a bed of leafs. The contrast in colours highlights the main focal point of the painting. The viewer to browses through his/her eyes from the left scene to the right one as if they are meant to be read as a story which the artist has taken efforts to emphasize along with the natural beauty of the hills of Kangra. The natural beauty and scenery has always affected the paintings in the hills, whether it is from Kullu, Kangra or Basholi (closer locations). The curves of the female body and the orientation of the trees express the sensuality of an ideal embodiment. The style has a unique sense of freedom and is closely connected with its local surrounding.


Kangra style of paintings had considerable influence on the art of other states of Garhwal. The beautiful cascading colours with all the vitality and sentimental appeal having compelling animated love scenes, transparent body curvatures and the charm of the slender figures are a few features of kangra miniatures which were followed over the generations before the artists finally had to shift from hills to the Mughal courts.


Reference Reading

1.Centres of Pahari Painting by Chandramani Singh

2.Indian Miniature Paintings by Anjan Chakraverty

3.Love of Krishna in Indian Painting and Poetry by W G Archer

4.Indian Art – A Concise History by Roy C Craven

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