Mahajambunada fells Ravana
| Support Type: | Paper |
| Paint Type: | Mixed Media |
| Current Location: | Smithsonian National Museum of Asian Art |
| Location History: | The location of the manuscript before 1890 is unknown. From 1890 to 1907, it was in the possession of Colonel Henry Bathurst Hanna after which it was acquired (purchased) by Charles Lang Freer. In 1920, he gifted it to the Freer Gallery of Art at Smithsonian National Museum. |
During the reign of Mughal ruler Akbar, there was an increased curiosity for the translation of Hindu epics. Interestingly, there are a few known translations of the Ramayana. Akbar commissioned the Persian translation during the 1580s. Inspired by him, other translations were commissioned. Hamadiabanu Begum (Akbar’s mother) had her own personal illustrated manuscript. The above artwork belongs to the Freer Ramayana (dated between 1597 and 1605) which was commissioned by Abdul Rahim Khan-i-Khanan, a prominent Mughal noble, military commander, poet and patron of the arts during Akbar's reign. Several artists of the imperial workshop such as Kamal, Syama Sundara, Mohan, Mushfiq worked collectively on the project. This artwork is attributed to artist Kamal and is an illustration of an episode from the Uttara- kanda of the Ramayana wherein Mahajambunada clashed with Ravana during the great battle that occurred between Rama’s forces and the armies of Lanka. Mahajambunada, described as ‘bright and dreadful as fire,’ is depicted leaping forward and confronting Ravana depicted with ten heads who lies fallen across the rocky terrain. The artwork clearly conveys the intensity and violence of the encounter. In the background, the landscape is shown with rock formations in unusual shapes, dark trees, animals and anthropomorphic beings. The use of vibrant hues of red, green, grey and yellow, expressive gestures and rhythm adds life to the particular episode. The illustration is accompanied with a Persian translation of the narrative on the left corner. In a broader context, the manuscript provides a look into the workings of Mughal-era manuscript workshops and the social and cultural life of the Court. It was important for these artworks to retain the core values of the epic, while also accounting for adjustments as the audience for these were mostly the royals. Thus, several influences of Persian artistic traditions can be noticed.