Sauban Ahmad – Kalabodh

Narratives from…

Sauban Ahmad — Thu, 15 May 2025 04:29:06 +0000

Narratives from Mithilā: A Study of Madhubani Art

Madhubani, meaning “forest of honey,” was formerly a northern subdivision within the Darbhanga district of Bihar. It lies north of the hilly terrain of Nepal and extends southward to the limits of its parent district, Darbhanga. Additionally, it shares its western boundary with Sitamarhi and its eastern boundary with Supaul.
The Madhubani region has long been a centre for the intellectual and cultural achievements of Mithilā. During the colonial period, administrative policies largely neglected the region. However, after independence, Madhubani emerged as a significant cultural site in India, particularly recognized for the commercialization of traditional Mithilā floor and wall paintings.
This blog will examine the historical and cultural importance of Madhubani painting and the narratives it conveys. We will also discuss the transformation of Madhubani Railway Station, which showcases these artworks, offering travellers a link to their often-overlooked cultural heritage.

Historical and Cultural Background

The historical origins of Mithilā trace back to the reign of King Mithi, around 1000 BCE. During this period, the region encompassing present-day Bihar and southern Nepal was known as Mithilā. It is believed that King Mithi introduced the language Mithilī, which later evolved into Maithilī, a significant regional language still spoken in the region today.
In Jitwarpur, two distinct artistic styles have developed among women of different social groups. The “spiritual” style, predominantly practiced by Brahmani women and other high-caste groups, is characterized by religious iconography and intricate detailing. In contrast, the “secular” style, created by Harijana women (historically considered an untouchable community), often portrays folk narratives and everyday life. Both styles exhibit rich colours and symbolic motifs, reflecting deep-rooted faith and cultural heritage. Unlike structured artistic traditions, Madhubani paintings offer artists creative freedom, allowing each woman to express personal devotion. This practice shares similarities with the Japanese Raigō and Hindu-Buddhist mandalas, where art serves as a form of prayer and meditation.
In recent years, this traditional art form has significantly influenced the community’s identity and gained recognition, exemplified by the Madhubani Railway Station, a vibrant symbol of the region’s artistic revival.

Makeover of Madhubani Railway Station

The previously overlooked Madhubani Railway Station in Bihar underwent a remarkable transformation in 2018, when it was adorned with the colourful Madhubani paintings that enhance its environment. This revitalization was achieved through the Indian Railways’ “Rail Swachh Mission,” which involved the contributions of 200 local artists, with women representing eighty percent of the participants. Over a span of two months, these artists worked together to decorate more than 14,000 square feet of the walls at the Madhubani Railway Junction in the celebrated Mithilā artistic tradition.
These artworks not only illustrate the everyday experiences of the Mithilā community but also explore mythological themes.

Upon arrival at the Madhubani Railway Station, visitors are greeted by an entrance characterized by a straightforward rectangular beam, embellished with rosette motifs that display the phrase “अहांक मधुबनी में हृदय स स्वागत अछि,” which translates to “Heartfelt Welcome to Madhubani,” accompanied by two Pūrṇa Ghaṭa. The vertical columns are richly decorated with traditional Madhubani artwork. Each pillar features the silhouette of a woman dressed in vibrant sarees adorned with geometric designs. These figures are accessorized with jewellery, including earrings, necklaces, and bangles. Notably, the woman depicted on the right pillar wears a prominent nose ring, a traditional ornament typically associated with married women in Mithilā. They are gracefully scattering yellow flowers to welcome the arriving passengers.

The Madhubani Railway Station showcases a variety of paintings, prominently featuring an illustration of Pūtanā, a well-known demoness from Hindu mythology. She disguised herself as an enchanting maiden with the intent to poison Kṛṣṇa through her breast milk. However, Kṛṣṇa ultimately killed her by suckling the poison out of her. In this scene, Kṛṣṇa is shown in the act of suckling her, while Yaśodā observes in terror. Upon her death, Pūtanā’s true demonic form is unveiled.

This artwork beautifully depicts the union of Lord Rāma and Sītā, a crucial moment from the Indian epic, the Rāmāyaṇa. Created in the traditional Madhubani style, the artwork uses vibrant hues, intricate designs, and strong outlines to express the joy of this occasion. Lord Rāma, shown with blue skin, is positioned at the centre, while Sītā is dressed in luxurious clothing and jewellery that reflect her royal heritage. A floral garland between them symbolizes the Jaimālā ceremony. Surrounding them are women in bright, elaborate outfits, likely representing attendants or divine figures offering their blessings. The festive details, including hanging floral garlands and ornate borders, enhance the celebratory atmosphere.

This Madhubani painting illustrates the divine romance between Kṛṣṇa and Rādhā set against a backdrop of nature and a lively village festivity. Featuring detailed designs, vivid hues, and themes from mythology, it wonderfully showcases the essence of traditional Indian folk art.
In addition to mythological themes, some artworks depict the daily life and festivals of the people of Mithilā.

Conclusion

Madhubani painting, characterized by its deep cultural roots and dynamic narrative quality, represents the legacy of Mithilā. From its historical origins to its contemporary resurgence at the Madhubani Railway Station, this artistic tradition bridges the past and present. Through the portrayal of mythological tales and daily life, these artworks provide significant perspectives on the region’s culture, ensuring the preservation and celebration of its traditions for future generations.

References

Chavda, Jagdish J. 1990. “The Narrative Paintings of India’s Jitwarpuri Women.” Woman’s Art Journal 26-28.

Duttagupta, Samonway. 2018. Bihar’s Madhubani railway station gets an arty makeover, attracts admirers. Bihar, 9 April.

‘Nirala’, Narendra Narayan Sinha. 2010. “Madhubani: A Contemporary History (1971-2011).” Indian History Congress. 1243-50.

About the Author:

Author: Sauban Ahmad

Sauban Ahmad is a postgraduate student in the History of Art program at the Indian Institute of Heritage. He holds a degree in History from the University of Delhi and has proficiency in Sanskrit and Persian.

Exploring Mughal…

Sauban Ahmad — Thu, 17 Apr 2025 04:27:09 +0000

Exploring Mughal Aesthetics: Art and Architecture in Jahangir’s Memoirs

Mughal art and architecture were intricately linked to the personal preferences and artistic sensibilities of three prominent emperors: Akbar, Jahangir and Shah Jahan.

After Akbar’s death, his son, Nuruddin Muhammad, (also known as Salim, or Jahangir) ruled the Mughal Empire from 1605 to 1627. As a prince, Jahangir established a personal workshop in Allahabad, favoring individual artists and realistic portraiture. He also had a profound interest in studying plant and animal life, incorporating European artistic influences into his works.

This analysis will focus on Jahangir’s contributions to art and architecture from his memoir, the Jahangirnama or (Tuzuk-I-Jahangiri, meaning “Jahangir’s Regulations”), inspired by his great-grandfather Babur. The term “tuzuk,” meaning “regulation” in Turkish, reflects Jahangir’s style of governance. Jahangir began his memoirs in 1605, but due to health issues in 1622, he enlisted his secretary, Mu’tamid Khan, to assist in its completion. However, the memoir was abruptly left unfinished in 1624.

Major Cities and their Architectural Styles Described in Jahangirnama.

*Fatehpur Sikri: * In his memoirs, Jahangir recalls that in August 1571, his father ordered the construction of a grand fortress, leading to the rapid emergence of a splendid city with mosques, educational institutions, and charitable organizations, all made from intricately carved red stone and surrounded by forests.

*Agra: * Jahangir highlights Agra’s importance, where he ascended to the throne. Before his birth, Akbar replaced existing structures with a new fort of finely chiseled red stone.

*Kashmir: * Jahangir describes Kashmir as a timeless paradise with stunning landscapes and abundant streams. He documented routes to Kashmir, commissioned bridges, and documented the Gulafshan Garden, a mosque, commissioned by Babur. Jahangir mentioned that the region’s architecture was mainly built wood, homes topped with mud roofs and tulip bulbs. Jahangir also mentions the mosque built by Sultan Sikandar and the innovative method of submerging boats loaded with stones used for temple construction by Sultan Zaynul’abidin.

Jahangir’s Passion for Art.

Emperor Jahangir, like his father Akbar, had a deep admiration for paintings and has described his passion for paintings extensively in his memoirs. He collected illuminated Persian manuscripts and artworks, sending envoys to Persia and other countries to acquire them, and also sought to include European paintings in his collection. Jahangir’s reign featured a courtly and aristocratic artistic style, with a particular emphasis on portraitures.

During his travels to Kashmir and other regions, Jahangir was accompanied by two or three artists who documented significant events through miniature paintings, often depicting hunting scenes with Jahangir portrayed with a golden halo.

Jahangir’s interest in European art, especially works featuring Christian themes, is recorded in the letters of Sir Thomas Roe but Emperor was of the opinion that Indian artists were undoubtedly capable of creating work that was just as impressive as their European counterparts.

Artistic works frequently depict portraits of Jahangir’s sons, the princes Sultan Parviz and Khurram.

An exceptional miniature from the early 17th century shows Jahangir examining a miniature that has been offered to him. By studying various miniatures crafted by different artists, Jahangir gained insight into their unique styles, allowing him to recognize their works even without the artists’ signatures.

Falconry, the ancient practice of training birds for hunting, was popular among the Mughals, especially Jahangir, who often documented his avian hunting experiences in his memoirs. The falcon, frequently gifted to the emperor, became a prominent theme in Jahangir’s artistic folios. The Jahangirnama includes many references to elephants, which were not only hunted but also given as gifts in the Mughal court. These magnificent animals frequently participated in battles against each other and played a significant role in royal processions, further symbolised the might of the Mughal Empire. Both animals and birds often appeared in the miniature artworks commissioned by Jahangir, symbolizing power, royal authority, and emperor’s personal interests.

The Jahangirnama reveals that twelve hundred ducks were hunted during the emperor’s four-month stay in Ajmer. In Kashmir, Jahangir meticulously documented the region’s topography, agriculture, and wildlife, noting both domesticated chickens and wild ducks. While exploring a garden in Kashmir, he poetically described his observations of the ducks.

Conclusion:

In conclusion, Jahangir’s memoirs highlight his profound appreciation for art, architecture, and nature. His impact on Mughal aesthetics, particularly through his lifelike portraits, detailed landscape records, and patronage of the arts, has left a lasting legacy in the cultural history of the Mughal Empire.

References

Archaeology, Center for Art and. n.d. Imagining the Nonhuman: Mughal King Jahangir’s Folios of Mammals, Birds, Plants. Accessed March 5, 2025. https://aims.vmis.in/caa-exhibitions/exhibition/jahangirs-folios-of-birds-animals-and-plants/.
Dimand, Maurice S. 1944. The Emperor Jahangir, Connoisseur of Paintings . The Metropolitan Museum of Art.
S.P.Verma. 2000-2001. “MUGHAL PAINTING, PATRONS AND PAINTERS.” Indian History Congress. Indian History Congress. 510-526.

Thackston, Wheeler M. n.d. THE JAHANGIRNAMA Memoirs of Jahangir, Emperor of India. OXFORD UNIVERSITY PRESS.

About the Author:

Author: Sauban Ahmad

Sauban Ahmad is a postgraduate student in the History of Art program at the Indian Institute of Heritage. He holds a degree in History from the University of Delhi. Additionally, he possesses knowledge of Sanskrit and Persian languages

The Genesis of…

Sauban Ahmad — Thu, 27 Mar 2025 11:47:09 +0000

The Genesis of Temple Architecture in Ancient India

Indian mythology views the entire earth as a unified, interconnected temple, drawing a parallel with the idea of the human body, Purusha (Khanna 1997) . The temple has historically been central to the community’s socio-economic and cultural life, serving as a place of worship, administrative centre, marketplace, residence for Brahmins and artisans, educational institution, and custodian of artistic traditions. Local governance often operated through temple institutions, with state authorities directing rulers to levy taxes for the temple, highlighting state power. Temples also allowed landlords and wealthy merchants to exert their influence (Rajan 2019).

Tracing Continuity Between Indus and the Sutra Period

Archaeological findings from the Harappan period suggest a link to Vedic principles, particularly in Mohenjo-Daro, where a structure with a central courtyard and symmetrical rooms contains low brick platforms likely used for rituals. Evidence of fire altars in the courtyard which were later also found at Lothal (Kak 2005). The prominent urban centres of Ayodhya, Harappa, Mohenjo-Daro, and Lanka were constructed in accordance with the principles of Vaastu Shastra. (Pashmeena Vikramjeet Ghom n.d.) The urban planning of Harappa and Mohenjo-Daro showcases advanced design principles. While it may be tempting to link these structures to Vaastu Shastra, this is historically inaccurate since Vaastu Shastra developed later. This does not directly connect them to the rituals in the Sūtra texts, but it highlights the cultural continuity between the Harappan civilization and the Sūtra period.

Concept of Vastu Purush Mandala

Vastu Shastra, a key part of the Vedas, is believed to have originated around four to five millennia ago, with its earliest manuscripts dating back to that time. The Earth as a living entity is central to Vastu Shastra, embodied by Vastu Purusha. The construction site is seen as his domain, called the Vastu Mandala, which serves as an architectural blueprint and is highly respected. His influence extends from the South-West (Pitrah) to the North-East (Isana). The Vastu Purush Mandala is viewed as a miniature universe, reflecting the principle of ‘यथा पिंडे तत् ब्रह्मांडे’ meaning “what exists in the microcosm also exists in the macrocosm.”

Caitya or Yaksacaityas

In 1930, Coomaraswamy published a significant essay on early Indian architecture, concentrating on Bodhighara construction and utilizing early texts and archaeological findings. He examined Yakṣas and investigated tree platforms dedicated to Yakṣas, Nᾶgas, and Caityas, becoming the first to mention the Jaina account of the caitya for Yakṣa Pūrṇabhadra. Ancient Yakṣa shrines featured gently sloping slabs beneath trees, akin to representations found at Bharhut and other locations. A relief from Mathura depicts a railing-free Vṛkṣacaitya, showcasing a Ṥilᾶpaṭa of footprints and a standing worshipper on one side, alongside a seated monk near a Sthᾶpana on the other, indicating that the shrine may be dedicated to a deceased Jaina monk Tίrthaṁkara.

A lintel from the early Kuṣᾶṇa period in Mathura depicts a Saiva temple with a Siva Linga located beneath a tree, instead of a Śilᾶpaṭa. This structure is surrounded by a railing on all sides, but it does not have a roof.

The Mathura relief at the Boston Museum, first analyzed by Coomaraswamy, features a more advanced architectural design than the Mathura relief and the Aupapᾶtikasūtra’s description. It depicts a sacred tree surrounded by a columned structure with an arched entrance, identified by Coomaraswamy as a square Bodhighara with a corbelled roof, though the illustration does not clarify if it had walls. Evidences of other significant developments that influenced the later temple architecture are Jaggayyapeta, two storied shrines with gaṇḍa-prastha (wagon-shaped) roofs. Gop Temple (Gujarat), a later development with a pyramidal Śikhara which is linked to Kuṣᾶṇa prototypes.

Conclusion

The development of temple architecture in ancient India showcases a profound cultural continuity, intertwining religious beliefs, cosmology, and architectural techniques, while also playing a crucial role in shaping the socio-cultural landscape of Indian civilization.

References

Chandra, Pramod. 1967. “The Study of Indian Temple Architecture.” Varanasi: American Institute of Indian Studies.

Kak, Subhsh. 2005. “Early Indian Architecture and Art.”

Khanna, Ashok. 1997. Rhythm in Khajuraho.

Pashmeena Vikramjeet Ghom, Abraham George. n.d. “Scientific Rationality In Vaastu Purusha Mandala: A Case Study of Desh and Konkan Architecture.”

Rajan, K. Mavali. 2019. “Ritual Servants of the Temples: Gleaning from Epigraphic Records of the Chola Period.” Indian History Congress. 78-86.

Srivastava, Satya Prakash. 1943. “”Religion Under The Gupta Age.” (Inscriptions And Coins.):A Stusy in Culture.” Indian History Congress. Indian HIstory Congress. 116-124.

About the Author:

Author: Sauban Ahmad

Cultural Synthesis in Mughal..

Sauban Ahmad — Mon, 03 Mar 2025 08:22:02 +0000

Cultural Synthesis in Mughal Architecture

Introduction

The followers of Islamic tradition existed in India long before the arrival of the Mughals. The believers of Allah (Momins) came during the 8th century. India encountered 11 invasions in the region of Punjab but very little political gain was achieved although they collected a significant amount of plunder. The Mughal Empire emerged from the descendants of the Mongol Empire residing in Turkestan during the 15th century

Babur and Humayun: Early Mughal Architecture

The Timurid ruler of Central Asia, Babur invaded North India in 1526 A.D., leading to the end of the Delhi Sultanate. The Mughal army was constantly in motion, seeking new land acquisitions and establishing structures that replicated the conventional architectural styles of Kabul and Samarqand. Babur’s son Humayun, who needed to travel from Badakhshan, Babur awaited Humayun in the Garden of Fidelity (Bagh-I-Wafa) near Jalalabad, which was his favourite garden in the Kabul area.

After his victory, Babur explored various locations in the Delhi region, such as tanks, gardens, and tombs, including that of Nizamuddin Auliya. He described Agra as Arid, Warm, Unkempt, and Unfriendly, and Mughal nobles immediately constructed gardens on the other side of the Yamuna River from the Agra Citadel. Babur’s Lotus Garden close to Dholpur is the most extensively recorded in his autobiography and the only location with remaining water features. Babur visited Dholpur six times, blending indigenous Indian architecture with new elements. He ordered a rock-cut seat, platform, and mosque, leading to a Mughal Garden complex that combined Central Asian water features with Rajput and Gujarati styles.

Humayun, the successor of Babur, was engaged in intense battles and was unable to provide any new Mughal architectural features. However, his prolonged period of exile in Persia enriched his appreciation and knowledge of Persian culture and architecture, which affected the art and architectural style in later Mughal India.

Akbar: The Fusion of Indian and Islamic Traditions

Abu’l-Fath Jalal-ud-din Muhammad, popularly known as ‘Akbar, was a tolerant ruler who played a crucial role in the growth of composite culture in Mughal India.

Akbar implied his tolerant nature in architecture and developed the new style of architecture initiated by Sher Shah Suri.

Akbar’s rule in India was marked by a blend of cultural influences, including Hindu, Transoxiana, Iranian, Afghan, and Arabic elements. This amalgamation is evident in significant structures such as Agra Fort, Fatehpur Sikri, Arab Sarai, Ajmer Fort, Allahabad Fort, and Lahore Fort. Secular artistic traditions, particularly those rooted in Hinduism and Buddhism, played a crucial role in shaping these architectural designs. The presence of the Raniwas and the temple near the queen’s palace exemplifies Akbar’s progressive approach to religious harmony.

Akbar had a notable admiration for Buddhist architecture, with elements of arches and domes traced back to Buddhist buildings. The lotus flower motif, often depicted in blue, symbolizes creation, purity, and beauty. The colours red, white, and blue were emblems of Trimurti representing Brahma, Siva, and Vishnu respectively. The arches themselves symbolize power, reflecting the ultimate authority of the Buddha as expressed in the teachings of the Tri Ratna.

The Buland Darwaza stands out as a striking emblem of Akbar’s time, underscoring his commitment to religious tolerance and open-mindedness. The star or Stellate emblems are prominent parts of the Humayun Garden Tomb’s design, with six-pointed Stellate emblems adorning the spandrels of Pishtaq’s tomb.

Jahangir: Transition and Innovation in Mughal Architecture

During the reign of Jahangir, Emperor Jahangir focused more on paintings rather than architecture. His two most important buildings during his reign were the Tomb of Akbar at Sikandara and the Tombs of Itimad ud- Daulah. His reign was considered a period of transition and innovation, with his wife Nur Jahan playing a significant role in making architecture more Persian.

Shah Jahan: The Golden Age of Mughal Architecture

Shah Jahan (1628-58) succeeded Jahangir and is renowned as ‘The Great Mughal Builder’, marking the ‘Golden Age’ of Mughal Architecture. He commissioned iconic monuments like the Red Fort and Jama Masjid, but the Taj Mahal stands out, symbolizing cultural synthesis during his reign. Rabindranath Tagore described it as “a teardrop on the cheek of time,” while

Eleanor Roosevelt viewed its white marble as representing pure love. The Taj Mahal exemplifies an amalgamation of architectural styles, heavily featuring Persian elements such as the Charbagh garden, inscriptional embellishments, and dome designs. Concurrently, Hindu influences are evident, suggesting inspiration from ancient Indian architecture, and showing how Mughal creators integrated diverse styles into their monumental legacy.

Prayer direction towards Mecca is rarely seen in Indo-Muhammadan structures, with the Taj Mahal’s dome displaying unique characteristics. Unlike typical Arab domes, it features three segments, influenced by Buddhist architecture as noted by Rām Rāz. Hindu temple pillars often symbolize the lotus, bell-shaped fruit, and water pot (Kalasa/Kumbha), representing immortality and vital in Indian art. The lotus, a central symbol in Hinduism, parallels the mihrab in Islam. The Taj Mahal’s wall paintings reflect both Rajput and Ajanta styles, including Ganesha symbols in its underground chambers. Additionally, the Pietra dura technique, commonly linked to Arab influence, has roots in earlier Indian art practices, indicating a broader cultural synthesis beyond just Mughal contributions.

Conclusion

Mughal architecture uniquely combines Indian, Persian, and Central Asian elements, showcasing diverse cultural influences. Each ruler enhanced its development, resulting in a rich artistic and architectural heritage that still inspires today.

References

Iftikhar, R. (2015b). Genesis of Indian Culture: Akbar quest for unity in a traditional society. International Journal of Social Science and Humanity, 6(4), 293–296. https://doi.org/10.7763/ijssh.2016.v6.660
Kumari, Annu. (2019). Elucidation of relationship between clothing silhouette and motifs with Indian Mughal architecture. Fashion and Textiles, 6(1). https://doi.org/10.1186/s40691-019-0174-4
“Taj Mahal as a Mirror of Multiculturalism and Architectural Diversity in India.” 2013. Journal of Subcontinent Researches 5 (15): 123–34. https://doi.org/10.22111/jsr.2013.1200.
Catherine B. Asher, Architecture of Mughal India, 1992, https://doi.org/10.1017/chol9780521267281.
Wescoat, J. L. (1991). Landscapes of Conquest and Transformation: Lessons from the Earliest Mughal Gardens in India, 1526-1530. Landscape Journal, 10(2), 105–114. https://doi.org/10.3368/lj.10.2.105
Saquib, M., & Ali, A. (2023). PERSIAN ARCHITECTURE: a SOURCE OF INSPIRATION FOR MUGHAL IMPERIAL MOSQUES IN NORTH INDIA. Journal of Islamic Architecture, 7(4), 744–749. https://doi.org/10.18860/jia.v7i4.21013
Nagarch, B. L. Encyclopaedia of Indian Architecture: Buddhist, 2008.

About the Author:

Author: Sauban Ahmad