Trainee: Roman Friedrich and Kay McGarry Report Date: March 25, 2019
Title: Balarama, Krishna's Brother, Unleashes His Fury up on Rukmi
Creation date: ca. 1585-1590 Accession Number: 1990.287 Significant Points 1. The vigorous action and bright varied color, which are seen here, are characteristic of 16th-century Mughal art. The painting shows the influence of Muslim Art on Traditional Indian style painting which influence is seen especially in the elaborate decoration atop the roof. The influence of European art is seen in the use of perspective and depth. Persian influence is seen in the use of some soft colors. 2. The purpose of this work is to convey a chapter in the life of Balarama, the brother of Krishna. Due to the importance of Krishna and his family in the Hindu religion, the purpose of the painting is devotional. The work, which is an episode in Balarama’s life, was intended to be appreciated up close as part of a book. 3. This work was created during the Mughal rule of Akbar, who was Muslim. Akbar was known for supporting the local Hindu religion as well as other religions of his subjects. Analysis of Art This painting, which was created during the reign of Mughal ruler Akbar in the 16th century, shows vibrant human action and a strong sense of movement in the overall composition. The circular action under the portico helps unite the composition. The bright vibrant colors are also characteristic of paintings during Akbar’s reign. Akbar was Muslim and the elaborate decoration atop the roof shows the influence of Muslim art in the work. Mughal artists were interested in history and in depicting the world as it actually was which is seen in the naturalism employed by the artist where nature is depicted accurately in the variety of vegetation in the background. The clothing of the people depicts various cultures of people from various parts of the Mughal Indian world with Africans as well as Asians attired in the dress of the country of their origin. This painting shows how far the art during Akbar moved from Traditional Indian painting with external influences. The painting shows European influence with the use of linear perspective in the use of the portico and the use of overlapping figures to suggest depth. Notice the birds flying overhead in the upper register which helps provide depth to the composition. The European influence is also seen in the figures being rendered with weight and volume. Persian influence can be seen in the patterning on the portico, the accentuated vertical orientation and the use of some softer colors. Page 1 of 3
Materials and Techniques This 15th-century manuscript painting was painted in the traditional Western Indian style using opaque watercolor on paper. The subject was first traced on paper, then pinpricks were made on the paper outlining the shapes. The outlines of the images were then pounced with black powder onto a new sheet. Once the images were outlined on the new sheet, paint, made from mixing natural pigments with water and gum arabic, was applied to the paper in many layers which helped give it sheen. The painting was then burnished face down with agate or crystal. In this work, the gold foil was probably placed on the painting later and was also burnished in the same manner. Subject The purpose of this work is to convey a chapter in the life of Balarama, the brother of Krishna, who was an avatar of Vishnu, one of the primary gods of Hinduism. The story relates an episode when Balarama, Krishna’s brother, prepares to King Rukmi, his brother-in-law, with a gold bar because the latter cheated him in a dice game. Many of the figures in the painting have their fingers to their mouths a Hindu sign referring to the lie that Rukmi told. Due to the importance of Krishna and his family in the Hindu religion, the painting is meant to inspire devotion and was intended to be appreciated up close as part of a book. Context The story in this painting is taken from the Harivamsha manuscript (Genealogy of Hari). Hari referred to the supreme absolute in the Vedas, an ancient body of religious texts from before 1000 BCE. In the Hindu tradition, Hari is often used interchangeably with Vishnu. Muslim Mughal emperors ruled India for over three hundred years from 1526-1856. They were responsible for the spread of Islam and many new ideas about architecture and art in India. Akbar, the third Mughal emperor, was especially fond of painting. He employed Persian master painters in his court. He had a taste for adventure and entertaining stories in the paintings he commissioned. He also had an interest in all of the religions in his empire, so he commissioned many paintings depicting dramatic episodes in Hindu texts like this work. The Hindu religion is considered to be one of the oldest living religions in the world. It follows dharma which refers to a way of life. Its tenets are part of an ancient oral tradition which stories became written over time. Hindu practices and beliefs vary greatly and are devoted to many different gods. Hindus aim to achieve release from the endless cycle of birth, death, and rebirth to become one with the universal spirit through the practice of dharma. Pleasing a deity through prayer is one aspect of this practice. Biography This painting comes from one of the Mughal workshops of Akbar located in Agra in North Central India. He had Persian masters, calligraphers as well as artists from the court of Agra in his workshops.
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Questions Purpose Audience 1. How does the artist convey To understand how the AKBAR All. perspective and a sense of reign was open to outside depth? influence. 2. Why is this story important to To show how Indian artists All the patron? painted stories to inspire devotion
3. Do you see an artist trying to To help show how the Mughal All paint naturalistically? regime changed the world of Indian art
Bibliography
Arnell, Allie. Lecture on Indian Miniature Painting. San Diego Museum of Art. Docent Intranet. 2019 Reed, Sherry. Lecture on Indian Miniature Painting: Materials and Techniques. San Diego Museum of Art. Docent Intranet. 2019 SDMA. Website Catalogue Sardar, Marika. Epic Tales from Ancient India. San Diego, CA. San Diego Museum of Art. 2016 Gosway, B.N., Smith, Caron. Domains of Wonder: Selected Masterworks of Indian Painting. San Diego Museum of Art, Copyright 2005
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