Day 303- Mughal Miniatures On A Cube

It was right after I moved my tribal house. I was sitting in my living room, watching the Rollas at work. Motion, commotion and all their worldly possessions at a glance in a space only as big as an A2 size paper, I realised then why I love working in miniatures. How else can we watch time unfold simultaneously in a few different worlds without even blinking an eye? There was Ro watching Baby messing his face with a cookie, loving her child, OM thinking with his eyes closed, Maya dreaming, her father reading, at different places in their own worlds, all at once. Looking at the 5 all at once worlds all at once and all the time, seated on my daybed, I thought this was as close to playing God as I could get.

I leaned back, pleased as punch and that was when I felt something hard on my back. Oh! It was my art-on-a-cube toy. Nine different Mughal Miniature paintings unfold when you play with the puzzle cube. Wow, I thought, a gallery worth of museum treasures in the palm of one's hand, more miniature marvel moments! So I spent the next 20 minutes taking pictures of the paintings for this post. 

I thought maybe you will enjoy some of these moments too.

A Lady Serving A Meal

Oudh, India c1770-80

The dramatic colouring and the rhythmic and stylized flow of the women's clothing combine to create what is one of the most striking images in Sir Alfred Chester's collection. Painted in Kangria, in the Himalayan foothills, the painting is equally notable for being a genre scene, the artist having chosen to depict a woman at an everyday task, instead of one of the more popular feminine subjects of love, romance and beauty.

A Lady Sets Off Fireworks

Oudh, India c1770-80 

In this beguiling miniature, three women stand on a terrace at night, while one of them, her hands and feet dyed with henna, sets off fireworks. Feminine subjects, in particular scenes focusing in feminine beauty such as this one, were traditional in Hindu art but became especially popular in 18th century Oudh.

The Dejected Mistress

Murshidabad, India c1755-60

A young woman, seated on a terrace alone at night, holds in one hand a letter from her lover, which she reads stoically and with concealed emotion, while clutching a small posy of blossoms in her other hand. The sparse composition of this painting is extremely effective in conveying its message of dejection and isolation; it also serves to highlight the exquisite brocade textiles of the figure's clothing and her richly bejewelled turban.

Jahangir Holding A Globe

India c.1620 by the artist Bichitr

In this highly allegorical painting, the Mughal emperor Jahangir holds a globe, atop of which is a key inserted into a lock, a reference to a key which it was thought could open both the material and spiritual worlds. Access to the key and hence to the inner knowledge of the two worlds was believed to be through Shaykh Mu'in al-Din Chishti, founder of the Chishti order of Sufis in India in the 12th century. The Mughals regarded a Chishti order as their spiritual guardian, and this painting once formed a facing pair of a similar depiction in Shaykh Mu'in al -Din.

Raga Dipaka

Bengal, India c 1760

This night scene of a courtesan sitting on the lap of her lover illustrates the raga Dipaka. In Indian music, a raga is a musical mode, while a collection of ragas is a ragamala (or 'garland' of ragas). Ragas are frequently illustrated, the artist attempting to portray the scene invoked by the particular musical mode in question. Sir Elijah Impey and his wife, Lady Mary, who once owned this ragamala, arrived in India in 1774; both husband and wife were keen collectors and patrons of Indian art.

A Prince And His Consort

India c 1620-25 by the artist Govardhan

This portrayal of a Mughal prince and his consort once formed part of a royal album , each painting of which was framed by elaborately illuminated borders, such as those seen here. The painting is unusual both for its very subdued colouring , in which shades of gold prevail, and the highly intimate nature of the scene. The dark clouds forming above the enraptured couple may seem rather foreboding but, in the Indian tradition, they in fact function as symbols foretelling a season of fertility and love- making.

Ganesha Enthroned

Garhwal, India, c 1790

The four-armed , Hindu elephant deity, Ganesha, is the god of wisdom and the patron of sciences, art and all creative activities. He is also considered the sponsor of auspicious beginnings or the remover of obstacles. As such , this image once served as an introduction to the story of Sudama, a poor peasant who one day travels to the palace of his childhood friend, the god Krishna, to give him a small bundle of rice as a gift. Moved by his act of generosity, Krishna transforms Sudama's impoverished hut into a palace, clothes his wife in luxury and makes him a raja. 

Akbar Receives The Homage of I'Timad Khan

India c AD 1605 by the artist Sur Das

The Akbarnama is the official biography of the Mughal Emperor Akbar (r.1556-1605) written by his close friend and associate. Abu'I-Fazl. In this highly colourful and intriguing miniature, the artist records the moment when the warlord, I'timad Khan ruler of Cambay, humbly prostrated himself before Akbar, who sits proudly atop a brightly caparisoned elephant. But the Khan's apparent loyalty to the higher authority of the emperor was short-lived, for as soon as Akbar had departed, he quickly tried to rebel, which just as quickly led to his imprisonment.

Akbar's Visit To The Muslim Shrine of Shaykh Farid Sakarganj

India c 1605

Here again the Mughal Emperor Akbar is portrayed, this time dressed in a bright orange jama and praying before the black-draped tomb of a Muslim shaykh. Set in the exact centre of the composition, he is the unmistakable focus of this busy and highly detailed picture. Intricate geometric patterns and scrolling blossoms cover floors, walls and the dome, while a rich array of textiles clothe the many courtiers and servants depicted, each of whom is involved in an animated discussion with his neighbour. A garden of lush trees grows beyond the back wall of the shrine, while in front, by the man entrance to the shrine, yet more guards and servants wait, ready to tend to the emperor's every need.

All descriptions of the pieces came with the cube.