Banwari Khurd was a Mughal painter who lived and worked during the reign of Emperor Akbar in the late sixteenth century. He is closely linked with illustrated manuscripts created in a period that saw the Mughal style of painting develop, thanks to the combined efforts of Indian and Persian painters. This artist is known for his work on the Razmnāmah, Akbar’s Persian version of the Mahabharata.
It was created as part of Akbar’s wider programme of translating ancient Sanskrit texts into Persian. It was the Mughal emperor’s idea to undertake such a huge project. Between the 1570s and the early 1580s, the most important Sanskrit writings have been translated and illustrated in Persian. As a result, a rich illustrated tradition of Persian Mahabharata painting has developed in Mughal India. Krishna is placed in the narrative centre, while the figures around seem to engage him in a spirited dialogue. Banwari Khurd constructs the picture by grouping his figures, architecture, and surfaces of different colours. Delicate lines delineate clothing, jewelry, and patterns that contrast with the restrained simplicity of the landscape and decorate the plot. Gold highlights enliven the page, and the composition’s density is relieved by the clever placement of figures. This way, the Mughal painter achieves a wonderful theatrical effect; he gets space by placing things near the observer’s eye and simplifying distant elements and patterns. Mughal artists are masters at telling a story using the medium of painting; they achieve a sophisticated and expressive image on paper. This enabled them to reflect not only the plots of the original Sanskrit poems but also understand the idea behind these stories. All the narrative components have been incorporated into the Mughal painting, which has been transformed from the simplicity of the drawn image into a complex composition using an astonishing variety of techniques.
In the *Razmnāmah* manuscript by Mughal painter Banwari Khurd, Lord Krishna is depicted seated in the centre of the composition under an architectural structure, narrating tales of Arjuna's valour to Bhima, with the women around him listening intently. The painter creates a dramatic and dynamic composition through hierarchical organisation, wherein figures and architectural surfaces are organised in layers through colour, patterns, and gold accents. The figures, adorned in elaborate attire and jewellery and involved in animated conversation, are defined by fine lines. Simplified background details help create depth and balance in the composition.
