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Five folios from the Ramayana associated with Hamida Banu Begum, the mother of the Emperor Akbar, dated 1594 AD The manuscript from which the following five lots originate is the most important Mughal work to have come to light in recent years. From the colophon we learn that it was "translated by the order of his Royal Majesty.... on the 27th of the month of 'abadan ilahi' corresponding to the 25th of the month of Sha'ban, of the year 1002 (16 May 1594)", in other words during the reign of the Emperor Akbar. It appears from two notes in the manuscript that it belonged to his mother Hamida Banu Begum, the wife of the Emperor Humayun, which suggests that it was made expressly for her, perhaps on the orders of her son. Akbar was illiterate but his mother was not. When she met her future husband at the age of 14, she was educated. Her literacy is attested by three letters in the British Museum and her seal is found on other manuscripts, such as a Divan of Shahi. The Ramayana is a Hindu epic translated into Persian. It concerns the saga of Rama and his faithful and devoted wife Sita. Rama was the eldest son of King Dasaratha and the seventh incarnation of Vishnu. The King was childless and performed the vedic horse sacrifice in the hope of getting sons (see lot 59). Four were born to him. The gods were in terror at the deeds of Ravana, the Rakshassa king of Lanka. They appealed to Vishnu for deliverance and he became manifest as Rama, son of Dasaratha. Rama marries Sita, a paragon of loyalty and virtue, who is abducted by Ravana (see lot 60). After many battles she is rescued and Ravana is killed. Rama is unwilling to take her back and doubts her virtue, and Sita is left at a hermitage to spend the rest of her days (see lot 62). Eventually Sita's great virtues are recognised by her grieving husband and they are reconciled Akbar is justly well-regarded for his tolerance of other religions. He made alliances with Rajputs and marriages to Hindus. A Brahmin named Debi is know to have instructed him in the philosophy of Hinduism and helped in the translation of the Mahabharata and the Ramayana. Akbar encouraged the artists of his court by commissioning manuscripts which resulted in a rich fusion of Persian, Indian and European styles. Five or six miniaturists appear to have worked on the manuscript. Up to now, none of them has been identified by name. Lot 59, signed by one Nur Muhammad is the first miniature from the manuscript to be published as a signed example, and is probably the only one signed in the manuscript. The miniatures are very large; in Mughal painting, only the Hamzanama miniatures are larger. The portrayal of the demons is unique among Mughal painting. Highly individual, the demons are appealing rather than alarming with their elephants' head and tusks and brightly coloured skirts hung with bells. Although the story is full of battles, this manuscript reflects its more lyrical side. Even a scene of single combat as in lot 58 is portrayed in a remarkably gentle manner. The demons who have been killed lying in the foreground appear to be asleep. In the background pairs of birds suggest the love of Rama and Sita. Leach, L.: Paintings form India, Oxford, 1998, pp. 40-9. Shastri, H.P. trans.: Ramayana of Valmiki, London, 1953, pp. 256-9.

Rama slays the demon Trishiras

MUGHAL INDIA, 1594 AD

Details

Rama slays the demon Trishiras
Mughal India, 1594 AD
Folio 146 recto, gouache heightened with gold on paper, the centre ground with the figure of Rama slaying the demon Trishiras with arrows, other demons lying dead in the foreground, a small group standing top left with their leader Khara holding a mace, four lines of flowing black nasta'liq text within two panels, verso with 18ll. of text within red and gold outlines, minor flaking of paint
Miniature 13 x 8¼in. (33 x 20.5cm.); text area 9½ x 5½in. (23.7 x 13.8cm.)

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Lot Essay

This miniature depicts the hero, Rama, killing the demon rakshasa, Trishiras with arrows. The demon was sent by Ravana to avenge the hurt done to his sister Shurpanakha when Lakshman cut off her nose. The demon Khara top left is subsequently also killed by Rama.
The text on the reverse gives the invective with which Rama and Khara precede their combat.
This beautiful miniature is a masterful composition of detail and colour. While the forground is dominated by the scene of combat, the eye is led up to the left corner where the demon army is lurking and to the lower portion where the vanquished demons lie dead. There is a strong contrast between the natural world of the partridges, trees and human figure and the vivid colours of the demons.

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