Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York, USA
Location History:
Originally part of a dispersed Persian Razmnama manuscript created for ’Abd al-Rahim, Khan-e-Khanan (commander-in-chief of the Mughal armies, appointed 1584). The manuscript page was later separated from the complete manuscript and acquired by Cornell University
This magnificent Mughal miniature painting by Fazl captures a scene from the great Indian epic Mahabharata, depicting the divine form of Krishna meeting King Yudhishthira at the court of Hastinapur. This scene is full of emotion and spiritual meaning. Krishna, the blue-skinned god and close aide of the Pandavas, arrives in a chariot with Arjuna as his driver. Krishna is immediately distinguished in the composition by his distinctive dark blue skin, the traditional way artists have depicted Krishna for centuries. He wears flowing saffron-colored robes, which contrast beautifully with the muted tones of the court. His attitude suggests both dignity and warm friendship, as he has always been a beloved friend and leader of the Pandavas. Yudhishthira, the eldest of the five Pandava brothers, appears as a central figure in the royal family, expressing deep respect and perhaps relief at Krishna's arrival. Throughout the epic, Yudhishthira struggles with doubts about morality and duty, but Krishna's presence brings him clarity and strength.
These two protagonists are surrounded by other members of the court: courtiers, servants, and court ladies. Their presence strengthens the sense of importance and significance of the scene. This image does not simply show a meeting between two individuals, but a meeting that affects an entire kingdom. Krishna's role as an advisor shaped many key moments in the Mahabharata, from helping Arjuna understand his duty on the battlefield to supporting the Pandavas during their years of exile.
The amazing artistry that contributed to this illustration was that of Fazl, who created it in the sub-imperial Mughal style around 1616-1617 CE. His work exhibits the local Mughal style that developed outside the court, with bright colors and confident execution that is indeed based on the Hindu painting tradition. This point makes this painting particularly important. The painting is a Persian translation of a Sanskrit epic and was painted with deep respect for India's religious traditions by a Muslim artist working for a Muslim clientele. This painting speaks of India's cultural exchange and shared artistic heritage during the Mughal era.
The painting's golden details mixed with opaque watercolor on paper create a glow that makes Krishna look almost supernatural. Garuda's chariot, referred to by its official name, symbolizes divine transportation and reinforces the divine nature of Krishna's presence. This small scene, on just one page of a vast manuscript, captures the essence of the Mahabharata's themes of duty, devotion, divine intervention, and the complex relationship between God and humans.
this artwork was created around 1616–1617 CE by the artist Fazl in the sub-imperial Mughal style, which blends local developments outside the central court with Hindu painting traditions using bright colors and confident execution. The painting captures a pivotal, emotionally charged scene from the Indian epic Mahabharata at the court of Hastinapur, where the dark blue-skinned Krishna, dressed in vibrant saffron robes, brings clarity and strength to Yudhishthira, the eldest Pandava brother who is plagued by moral doubts. Surrounded by courtiers, servants, and court ladies, the encounter signifies a monumental event affecting an entire kingdom, enhanced by supernatural golden details and opaque watercolors on paper, alongside a chariot symbolizing divine transportation. Culturally, the manuscript is a profound example of artistic and religious exchange during the Mughal era, featuring a Persian translation of a Sanskrit epic crafted with deep respect by a Muslim artist for a Muslim clientele.
