Ghatotkacha and Three Demons in His Company Chase Bhagadatta
| Support Type: | Paper |
| Paint Type: | Gouache |
| Current Location: | Cleveland Museum of Art, Cleveland, Ohio, United States |
| Location History: | This painting originally formed part of an illustrated Persian translation of the Mahabharata known as the Razm-nama. It was produced around 1616–1617 during the reign of Emperor Jahangir. The manuscript was commissioned for Abd al-Rahim Khan-i-Khanan, an important Mughal noble and patron of the arts. Over time, the folio passed through several collections. It was once owned by the famous collector Hagop Kevorkian in New York and later entered the collection of Ralph and Catherine Benkaim. In 2013, the Cleveland Museum of Art acquired the work, where it is presently preserved. |
Ghatotkacha and Three Demons in His Company Chase Bhagadatta is a Mughal miniature painting attributed to the artist Fazl and created around 1616–1617. The artwork illustrates a dramatic scene from the Mahabharata, one of India’s most important epic texts. It depicts the warrior Ghatotkacha, the son of Bhima, pursuing King Bhagadatta during a fierce battle. According to the story, Ghatotkacha used magical powers to create multiple demon warriors who assisted him in combat. The painting captures this supernatural event through the depiction of red-faced demonic figures riding elephants and charging toward their opponent. (Cleveland Museum of Art) The composition is filled with movement and action. The elephants, horses, and warriors are arranged in a way that guides the viewer’s eye across the battlefield. Fallen soldiers and scattered weapons emphasize the intensity of the conflict, while the expressive poses of the figures communicate determination, fear, and aggression. Fazl pays close attention to decorative details such as armor, clothing, and elephant ornaments, demonstrating the refined craftsmanship associated with Mughal miniature painting. The landscape consists of rocky hills, patches of vegetation, and an open blue sky, creating a simple yet effective setting for the battle. The upper portion of the page contains elegant Persian calligraphy, showing that the painting originally formed part of an illustrated manuscript of the Razm-nama, the Persian translation of the Mahabharata. Through its combination of storytelling, rich colors, and intricate details, the artwork reflects the cultural exchange between Indian literary traditions and Persian-influenced Mughal art. It serves as an excellent example of how provincial Mughal artists like Fazl transformed epic narratives into visually engaging works of art.
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