Oriental and India Office Collection, British Library, London
The painting called 'The ladies of Krishna's harem are shown the sacrificial horse' is a miniature painting painted by a Hindu artist named Bhagwan, made in 1598 AD during Akbar's reign, measuring 310 x 204 mm. This painting is from Razm-Nama (a translated Persian version of Mahabharat) by Naqib Khan and Badauni.
In this painting Bhagwan highlighted a concept of Ashwamedh yajna preparation, for which a beautiful white sacrificial horse has been chosen and is brought to 'Zanana,' where Krishna's ladies are adoring and admiring him and conversing about him with each other and the soldiers outside the Zanana. Meanwhile, Pandava King Yudhishthir can be seen conversing with Lord Krishna (their ally and mentor), who is dressed in a yellow garment and seated on an elevated platform, about the preparations of the Yajna, surrounded by Krishna's ladies in a circular manner; this scene is described as the core center of the painting as the center of the Zanana is well highlighted using the shades of red, yellow, orange, etc. Outside the Zanana, towards the left, can be seen the other 4 Pandava brothers: Bhima, Arjuna, Nakul, and Sahadeva, standing in the protection of King Yudhishthira and waiting for him to finish the conversation with Krishna.
The use of opaque watercolors on paper and bright and vibrant strokes in the painting highlights its detailed features and realism, showing how Krishna, who is also called Shyam, is depicted with a slightly dark tone to distinguish easily and how nature is depicted with the warm tones of greens and blues. This miniature painting gives a very powerful message of walking on the right part of Dharma to fight the ills of society in the most truthful manner. It also depicts the beauty of trusting your ally, Krishna, who is always with you in the form of a god and as a friend as well.
Looking at the painting, there’s a really rich, bustling scene unfolding here. It’s a classic Indian miniature painting that feels incredibly alive with color and detail. Right in the middle, sitting under this big, bright red and green tent canopy, you see Krishna, he's the dark-skinned figure dressed in bright yellow robes, looking very calm and royal. He’s talking to another noble figure, maybe a prince or king, who’s sitting right across from him in pink. Around them, there's just a whole crowd of women, presumably the ladies of the harem, all dressed in these beautifully patterned skirts and traditional clothes, some holding fans and chatting amongst themselves.
Now, if you look toward the bottom left, there's this striking white horse, which must be the sacrificial horse mentioned in the title. A couple of the women are standing near a small doorway or gate right by it, gesturing toward the animal as if they're discussing its role in the upcoming ritual. The whole scene is wrapped in an orange enclosure or wall, separating the royal gathering from the outside world. But outside that wall, on the left, you can see soldiers or guards on horseback, kind of keeping watch near some rocky, pastel-colored hills in the background. There is also some elegant script text written at the very top and bottom of the page, giving it that authentic manuscript feel. The colors are so warm, and despite the flat perspective, the way everyone is grouped together gives it a wonderful sense of energy and storytelling.
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By: ARNAV DEY
The painting above represents an interesting pisode from the Razmnama ( literally, the Book of Wars)- the Persian translation of Mahabharata which was commissioned by emperor Akbar. The painting presents a unique and beautiful blend of two- the Persianate and traditional Indian styles. This is reflected in the depiction of the figures, their attires, the colorful palette using brilliant, deep colours. The surrounding represents a mix of Indo-Persian art aesthetic- the high, royal shamiyanas (tents) in red and borders with gold surrounding by natural setting adorned with trees and the clear sky above. While Krishna is shown mostly in traditional ancient Indian style (except the design of his crown), the other figures- both male female are shown in attires with show a intermingling of Mughal and Rajput dressing styles.
