Who painted Bhaavata Purana (4 of 4 illustrations)?

Bhaavata Purana (4 of 4 illustrations) was painted by Unknown in 1700.

Where can I see Bhaavata Purana (4 of 4 illustrations)?

Bhaavata Purana (4 of 4 illustrations) is held by Detroit Institute of Arts.

What movement is Bhaavata Purana (4 of 4 illustrations)?

Bhaavata Purana (4 of 4 illustrations) is associated with Mughal Painting.

Artwork

Bhaavata Purana (4 of 4 illustrations)

Unknown , 1700

Bhaavata Purana (4 of 4 illustrations) is an unspecified painting by the Mughal Painting artist Unknown. It dates from 1700 and is held in the collection of the Detroit Institute of Arts. The work is a painted illustration from the Bhaavata Purana, the fourth in a series of four images.

About this work

Overview

The work is a painted illustration from the Bhaavata Purana, the fourth in a series of four images. It depicts a lively gathering of nine figures—both men and women—arranged in various poses of walking, sitting, and reclining. The composition is set against a dark‑green backdrop that hints at trees and architectural forms.

Subject & Meaning

The figures are dressed in conventional Indian attire: the male participants wear dhotis while the women are clothed in saris. Their arrangement suggests a narrative moment drawn from the Purana, though the specific episode is not identified in the available description.

Technique & Style

Executed in a style that echoes traditional Indian manuscript illustration, the painting employs vivid pigments, notably bright yellows and pinks for the garments. Intricate ornamental patterns adorn the clothing and surrounding space, contributing to the visual richness of the scene.

History & Provenance

This illustration belongs to a quartet of images that together form a visual commentary on the Bhaavata Purana. Details regarding its creation date, artist, or subsequent ownership are not provided in the source material.

Context

The Bhaavata Purana is a medieval Hindu text, and its illustrations were historically used to convey religious narratives to a largely illiterate audience. The painting’s use of familiar dress and domestic settings would have made the story accessible to contemporary viewers.