Dating back to 1598 - 1599 AD and belonging to the time of the Mughal emperor Akbar, the painting, Bhishma Instructs Yudhishthira in the Principles of the Sankhya System of Philosophy, is an impressive folio created as part of the royal Razmnama or Book of War, an illustrated version of the Indian epic, Mahabharata. The painting was executed by Fattu, an eminent artist of the late 16th century and son of the renowned artist Manaku. The page exemplifies the important interaction between Indian epic literature, Mughal aesthetics, and international artistic movements. Now in the Free Library of Philadelphia, the artwork depicts a deep philosophical discussion from the Shanti Parva of Mahabharata in which Bhishma gives valuable metaphysical advice to Yudhishthira, the young king.
The visual tale presents a moment of loss and learning in the aftermath of the disastrous Kurukshetra War. In the epic, Yudhishthira, troubled by the colossal destruction brought about in obtaining the power to rule, seeks advice from Bhishma who rests on his arrow bed. In this folio, Bhishma explains the philosophy of the school of Sankhya one of the traditional philosophies in Hinduism. The Sankhya philosophy is based on dualism, separating Purusha (the everlasting and conscious spirit) from Prakriti (the physical body as well as the nature that surrounds it). The folio uses the sophisticated style characteristic of Mughal court paintings. All figures are accurately represented and show different facial expressions, characteristic traditional attire, and gestures presenting different attitudes. There are attendants and courtiers around the main characters, which creates the environment for the philosophical discussions that are presented in an amazing setting.
The composition, despite being consistent with what is known about the late 16th-century Mughal school of manuscript painting, demonstrates considerable innovation and integration of styles on the part of Fattu. The most notable detail here is the beautifully rendered drapery of red and green tints adorning the top of the picture. The art historians state that the heavy drapery used in this painting was copied from unknown European sources, most likely prints and engravings brought to the court of Akbar by the Jesuits, travelers, and traders.
However, this utilization of European motifs shows the transition in aesthetic approach: the motif was borrowed and adjusted in accordance with local traditions. In the main, the Western Renaissance drapery has to rely on structural elements that are supposed to serve as supports for the curtains. In comparison, the Mughal artist left the curtains in an air suspension without attaching them to anything and without rendering any realistic perspective. The delightful detail illustrates how the foreign artistic ideas could be masterfully used in conventional style of the royal workshop.
Finished on high-quality paper and with the use of minerals and gouache paints, the artwork shows rich colors, fine technique and precise margins, which is typical of other books produced in this period. Razmnama was aimed at achieving an important social and political goal by transforming literary epics in provenance language into equally significant illustrations provided by the well-known artists of the court. Thus, the piece of art created by Fattu contributes to the historical heritage of the period describing the process of combining various cultural and national movements in pursuit of one goal.
This folio from the royal Razmnama brilliantly captures the profound intersection of epic literature, philosophical inquiry, and cross-cultural artistic synthesis during Emperor Akbar's reign. Rather than focusing solely on the devastation of the Kurukshetra War, the artwork visualizes a moment of healing, introspection, and ultimate wisdom. By depicting the picture of Bhishma, who is imparting the dualistic philosophy of Sankhya and separating conscious spirit (Purusha) from physical nature (Prakriti) to a remorseful Yudhishthira makes the piece a narrative of political victory into a timeless meditation on duty, grief, and metaphysical clarity. Furthermore, Fattu's clever integration of European-style Renaissance drapery into a traditional Mughal framework highlights a harmonious dialogue between Eastern and Western artistic traditions.
