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VOL. 10, ISSUE 1 (2024)
Images of subversion: The jharokha portrait in the mewar ramayana
Authors
Heba Fatima
Abstract
This paper specifically examines the jharokha portrait within
the context of Rajput art, focusing on the Mewar Ramayana. The paper delves
into the rich tradition of portraiture in India, which is often perceived as
having flourished predominantly during the Mughal era. Contrary to the belief
that portraiture was non-existent before the Mughals, evidence from Kushan
coinage, Chola temple art, and ancient Indian treatises like the
Vishnudharmottara Purana and Chitralakshana suggest its earlier existence. The
Mughal period, however, marked a significant enhancement in the art form,
driven by increased European contact and the Mughals’ keen interest in
historical documentation. The arrival of Jesuit missions bearing European
artworks influenced Mughal painters, leading to a more naturalistic approach in
portraiture. Akbar's historian, Abu’l Fazl, recognized this European impact,
noting how it animated inanimate subjects. Akbar’s commissioning of an
extensive album of likenesses of his grandees and himself epitomizes this
period's advancements. This momentum continued under Jahangir and Shah Jahan,
with the introduction of the jharokha portrait—a bust portrait showing
the sitter above a parapet—which signified a notable shift from full-length
portraits. The jharokha style even influenced Rajput painting,
reflecting a nuanced interplay of homage and subtle defiance towards Mughal
conventions. Despite the ostensibly cordial relations between the Maharanas of
Mewar and the Mughals, an underlying rivalry is evident. The analysis of jharokha
portraits in Rajput paintings in this paper highlights the cultural and
political dynamics at play, illustrating how art serves as both a medium of
reverence and resistance.
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Pages:87-91
How to cite this article:
Heba Fatima "Images of subversion: The jharokha portrait in the mewar ramayana". National Journal of Advanced Research, Vol 10, Issue 1, 2024, Pages 87-91
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