'Rasikpriya' to Propaganda: How Mughals Twisted Art to Rewrite History

India's rich artistic heritage, deeply rooted in its indigenous traditions, has long been a medium of storytelling, cultural preservation, and historical documentation. The fusion of Acharya Keshavdas’ poetry, Maharana Jagat Singh I’s patronage, and Rajasthan’s exquisite miniature painting tradition exemplifies this cultural synergy of the 16th and 17th centuries. Works like Rasikpriya not only stood as literary milestones but also found an eternal expression through intricate paintings that captured the essence of devotion, love, and artistic brilliance.

 

 

 

 

However, this very artistic tradition, originally a tribute to Indian aesthetics, was later appropriated by the Mughals to rewrite history in their favor. By commissioning paintings that depicted them as benevolent, just, and culturally assimilated rulers, they strategically whitewashed their history of invasions, destruction, and forced conversions. Today, the so-called ‘secular’ historians and intellectuals continue this distortion, using these Mughal-era paintings as supposed evidence of their harmonious rule over India. This article delves into how the Mughals manipulated art as a propaganda tool and how modern-day narratives exploit these paintings to mislead Indians about their own history.

The 16th century was a transformative era for Indian literature and art, shaped by the confluence of Mughal, Rajput, and regional traditions. Among the most significant poets of this time was Acharya Keshavdas, a scholar and poet who made remarkable contributions to Hindi literature, particularly in the domain of ‘Riti’ (poetic style). His seminal work, ‘Rasikpriya’, stands as a cornerstone of medieval Indian aesthetics and poetic discourse, offering a detailed exploration of shringara rasa (romantic emotions) and an intricate classification of hero-heroine archetypes.

 

Beyond its literary significance, ‘Rasikpriya’ found a lasting place in the artistic heritage of Rajasthan, particularly in the miniature painting tradition. Mewar’s illustrious ruler, Maharana Jagat Singh I (1628–1652), a descendant of Maharana Pratap, commissioned a series of exquisite paintings inspired by Rasikpriya, blending Keshavdas’ poetic richness with Rajasthan’s delicate and intricate artistry. This article delves into Keshavdas’ literary mastery, the artistic interpretations of Rasikpriya in Rajasthani miniature painting, and the unique techniques employed in this tradition, such as the meticulous brushwork using a single hair from a squirrel’s tail. Through this fusion of poetry, art, and human-animal symbolism, Rasikpriya transcended literature to become an enduring visual and cultural phenomenon.

 

 

 

 

 

 

Acharya Keshavdas was a prominent poet of the ‘Riti’ (ornamental) tradition, known for his emphasis on poetic embellishments, intricate descriptions, and scholarly approach to literature. His works reflect a strong influence of Sanskrit poetics, particularly Bharata Muni’s Natyashastra and Rudrata’s Kavyalamkara. While his poetry is rich in imagery and metaphors, it is also highly structured, adhering to strict aesthetic principles.

 

Among his many literary contributions, Rasikpriya remains his most celebrated work. Written in 1591, this poetic treatise serves as a guide to understanding the various dimensions of love. It classifies love into three categories—Sambhoga (union), Vipralambha (separation), and Sanmukha (face-to-face encounter)—and provides detailed insights into the emotions, psychological states, and behaviors of lovers. While Keshavdas draws heavily from classical Sanskrit poetics, he adapts these concepts into the Braj dialect, making his work more accessible and influential in the royal courts of Rajputana and Bundelkhand.

 

 

The themes of Rasikpriya revolve primarily around the divine love between Radha and Shri Krishna, serving as both a metaphor for human relationships and an expression of devotion (bhakti). The vivid imagery and layered symbolism in this work make it an ideal subject for artistic representation, particularly in the form of miniature paintings.

 

Mewar’s Maharana Jagat Singh I (who ruled from 1628 to 1652) was a great patron of art, literature, and architecture. As a descendant of the legendary Maharana Pratap, he upheld Mewar’s warrior traditions while also fostering a rich cultural and artistic legacy. During his reign, he commissioned numerous miniature paintings, including depictions of literary works such as Rasikpriya and Geet Govind.

 

Under his patronage, the Mewar school of miniature painting reached new heights. Inspired by Acharya Keshavdas’ poetic descriptions of Radha and Krishna, artists created a series of paintings that visually narrated the themes of Rasikpriya. These artworks captured various emotional states, intimate encounters, and interactions between Radha and Krishna, aligning with the classification of heroines (nayikas) and heroes (nayakas) as described in the text.

 

Key Features of Rasikpriya Paintings from This Era:

 

These paintings were not merely artistic expressions but served as visual narratives that complemented the poetic descriptions in Keshavdas' work.

 

Rajasthan has a rich and distinguished history of miniature painting, with various schools flourishing in regions such as Mewar, Marwar, Bundi, Kota, Jaipur, and Kishangarh. This artistic tradition dates back to the 16th century and emerged as a means for Rajput rulers to preserve and celebrate their cultural identity through art.

 

 

Techniques and Materials Used in Miniature Paintings

 

One of the most captivating aspects of Rajasthani miniature paintings is the meticulous technique involved in their creation. Artists employed the following methods and materials:

 

Although these paintings were often small in size, they were incredibly detailed, designed to be viewed up close under candlelight, which enhanced their exquisite intricacy.

 

 

 

 

 

 

The Rasikpriya series commissioned by Maharana Jagat Singh I is regarded as one of the finest works in Rajput miniature art. Some of the key themes depicted in these paintings include:

These paintings were not merely decorative; they also served spiritual and educational purposes by visually reinforcing the ideals of love, devotion, and aesthetic principles described in Rasikpriya.

 

 

The confluence of Acharya Keshavdas’ poetry, Maharana Jagat Singh I’s patronage, and Rajasthan’s miniature painting tradition highlights the rich cultural synthesis of 16th-17th century India. While Rasikpriya remains a literary and intellectual milestone in Hindi literature, its transformation into miniature paintings immortalized its themes and emotions in visual form. The meticulous tradition of using ultra-fine brushes made from squirrel hair showcases the unparalleled craftsmanship of Rajasthani artists, preserving a legacy that continues to be admired worldwide.

 

 

These paintings, poetry, and artistic traditions form an invaluable cultural treasure, offering a glimpse into an era where literature and visual art merged to celebrate love, devotion, and beauty in their most refined forms. However, this very style of painting was later appropriated by the Mughals to conceal their misdeeds and fabricate a false historical narrative by commissioning paintings depicting various Mughal rulers, royal courts, and events.