 Thank you of our all for inviting me here today. It is indeed a great pleasure and a great honor and I really feel very humbled by it because truly as I explained to Peter. I'm not really a Scholar scholar, you know I'm a hobby scholar and I do scholarship as a hobby and I have been doing art in various Subjects and in various fields. So I have been an editor of Mark publications. I have was Director of the National Gallery of Modern Art in Mumbai And so I've shifted fields and I've gone to various areas and I haven't really stuck to Just doing scholarship and therefore I feel very honored today that Peter decided to invite me and an Invitation that I accepted with much trepidation Because with all these scholars around here, I don't know how this lecture will be Will be received, but I hope you will all enjoy it because truly it's a visual delight. I started studying giant painting as my PhD thesis and the idea was that Though giant painting of the Shwetambar group was very well known of the Digambars not much was known and they for my Advisor Dr. Moti Chandra felt that perhaps with our family connections I would be able to find some interesting things which would help in in The study of giant art So I started as per his wishes and started going to giant libraries and I was indeed extremely happy that on one of my initial trips I went to a place called Karanja and There by chance just by chance. I Discovered a painted scroll Which was 40 feet long and three feet wide It is I don't really want to go into the details of it, but those are really the beauties of Discovering objects when you're doing your study and research Very often research can be so frustrating because you may go to various places and not find anything But this particular in this instance. I had found some things in the giant libraries at Karanja It was my very first trip to find objects and To and there as we were about to leave They insisted that I have a cup of tea with them and now you know, this is 40 years ago and Tea meant that you know, it would take time for them to those were the days when it was not always possible to have Have gas for lighting So it was those primer stores, which is they pumped and then they made tea which took about half an hour So while chatting with them over tea, I asked them that do you by any chance have anything on cloth and So they said yes, we do we have a painted scroll and so I said do you think I could see it and They said certainly but then it meant getting the key then it meant getting a lamp to see it And it meant going into a storeroom and that storeroom was so dark And it was it the temple was under repairs So we found all sorts of objects there, you know wooden beams and broken glass and bow big sort of basins of cement and it was like going like an obstacle course above the beam and around the cement and Around the glass and into the corner Where we saw this rule and it was so dark and it's so late. So I just said do you think I could Just take a corner and look if it is if it is something that I'm looking for and They said is that the way to look at religious objects? So of course I was I was very sorry I had said that and I said no Well, you take it out they took it and they took it to the corridor of the temple Which was like a long corridor like this and they unrolled it like a bolt of cloth and I Just held my breath. I mean there was this breath taking scroll 40 feet long three feet wide fully painted So we didn't leave that day. We stayed another two days We photographed it and that's how my journey into Indian art began and today I would like to share with you at that time I thought it was very beautiful, but I didn't realize how important it was Not only important from the point of view of art history Which was my subject but also point of view of social Situations that occur due to historical circumstances and as we go along I'll talk about it so that you can see the importance of stylistic development and Also, how these developments are influenced by circumstances historical circumstances. I Have titled this as the life of Rishabha because This scroll does tell you the right life of Rishabha and it is In keeping with the title of the seminar here today But primarily this scroll has only a few episodes from the life of Rishabha It is discusses the Panchakalyanaka Rishabha Which are the five important episodes that occur in the life of every Dirtankar But the vision is so wonderful and so I've just titled it the life of Rishabha a painted vision This is how long the scroll is and it's divided. Sorry, I can't see okay This is how long the scroll is and it's divided into panels as you can see and In groups of panels the Panchakalyanaka is Is a display and I have Shown you the Panchakalyanaka here. This is the garbakalyanaka. This is the Janma Kalyanaka. It's such a big length of Janma Kalyanaka Then we have a small bit of Diksha Kalyanaka, this is This is Keval Gyan Kalyanaka and this is Moksha Kalyanaka So from this you can see how much importance is given to this and this is what is so different about the scroll because generally in Jain painting We don't find so much description and so much importance given to each of the Kalyanaks But here there is a certain celebratory Joyful depiction and this is in many ways contrary to what you usually see in Jain paintings Which are extremely matter-of-fact. They just tell you the story in Bare and bald terms very little landscape or architecture is shown But this particular scroll in that sense is very unusual and very beautiful Panchakalyanaka is probably it's extremely important to the Jain's and it is shown in various manners It is shown as fresco paintings as you see over here These are from Tirupati, Kundaram Then sometimes the entire episode is not shown. It's only shown by certain Symbols like this, which is Samavsaran, which is Keval Gyan Kalyanaka This is again Keval Gyan Kalyanaka in bronze This is a painting and this is a wooden carving in a wooden mandap and it shows This this is Janma Kalyanaka of an elephant showing with many trunks and tusks and lotus legs on top and Upsara is dancing on it So this is the way in which the Kalyanaksa are shown. They are often shown singly Not always collectively and just by looking at one, you know what it represents The scroll begins with Adi Dheep This is the manner in which most in Jain stories begin with the picture of Adi Dheep This picture is sort of turned. They should have been horizontal But it is here Where we have the city of Ayodhya. I'm sorry. This is Yeah, this should be anyway This is where the city of Ayodhya is which is where the story of Rishabha takes place This is the city of Ayodhya That is first shown in the first panel as you can see here each panel is shown where its position is By showing it to you here and this is where it is and these are Some details from it over here this figure over here and some of these Details here Now the according to the text of the Adi Purana the city of Ayodhya was built by Indra Six months before Rishabha was born He built this city on the lines of cities in heaven and in the center of the city He situated a palace for the parents of Rishabha, which is Nabiraj and Marudevi and in and Because the Tirthankar was going to be born then he Situated he made the city very big with lots of mansions and Populated it with people that were scattered all over the earth and brought them together at Ayodhya Here we see this figure of Nabiraj and his wife Marudevi and Again, which is a convention in miniature painting. You see Nabiraj again with his courtiers and this wonderful palace shown with a garden and Two walls one made of mud one made of stone and people over here indulging in daily activities There's some quite interesting little Details here. Here's a man chasing an elephant. Here's a woman buying palm So these are the sort of details that you find showing people of Ayodhya Then One night when Marudevi was sleeping At the end of the night. She saw 16 lucky dreams The first dream that she showed a song was an elephant Ayuravata the dream start from here. This is Marudevi sleeping and these are her dreams I'll just read out the dreams to you There was the elephant Ayuravata trumpeting like a thunder rain cloud a Splendid white bull with broad shoulders a white lion with ready shoulders the goddess Shree This is elephant. This is the sequence in which it goes the goddess Shree seated and being Lustrated by celestial elephants a pair of fragrant flower garlands surrounded by humming bees The full moon ringed with stars the rising sun two golden jars covered with lotuses a pair of fish sporting in a lotus lake a Lake covered with pollen like melted gold and ocean with splashing waves which you get here These the scroll was quite damaged. So all these parts are gone You know, this this shows the sort of repairs that were done A high lion throne Celestial vehicle a mansion from the netherworlds a heap was sparkling jewels and a bright smokeless fire At the end of the night And Marudevi got up and she went to her husband and She told him about the dreams and he interpreted them for her He said the elephant meant that her son was will be an unsurpassed excellence The bull indicated that he would tower over others the lion signified that he would possess immense strength The garlands indicated that he would establish a religious order The lustration of Lakshmi symbolize their son's Lustration on Meru a moon meant the moon meant that he would be brilliant The two jars served as emblems of countless good qualities the fish meant that he would be happy the lotus lakes Signified that his body would bear auspicious signs the throne meant that he would rain on earth The celestial carriage indicated that he would descend from the sky The nag of a man from the netherworld meant that he would be clairvoyant and the heap of jewels meant that he would be virtuous The smokeless fire indicated that he would reduce all his karmas to ashes now So this is these are the lucky dreams and this is the interpretation of it and Some details for you to see how beautifully it is done Especially look at the colors and the detailing of the animal I'm sorry. This seems to be going faster Now when Marude we got these dreams Indra felt a quivering of his throne and he sent down six Comaricas these are the shutter comaricas with a detail of which you see here and this over here and These comaricas came with marvelous substances to clean and the womb of Marudevi For that they thank her to take You know to come into her womb So these are the shutter comaricas. They are re re re Sri re Druti kirti buddhi and Lakshmi. So these are the six shutter comaricas who come are sent by Indra from above I'm sorry. I don't know what is going wrong This is the interpretation of dreams Then after that Indra sent 56 dikkakumaricas to wait on Marudevi and this is truly a very beautiful miniature painting Where you see Marudevi seated in the center all these comaricas around her And what is wonderful is if you really observe the composition, look at the way in which it goes from here Then it goes around here so the eye of the Observer moves with these and comes back to her because it comes like this and back to her It's a very beautiful artistically composed composition and these are the dikkakumaricas who are seated and Praying with her the dikkakumaricas looked after her for all the nine months that she was there. They Cooked for her. They looked after her her personal Needs they looked at they played with her they entertained her they Amused her with riddles they sported with her and they even discussed poetry and literature with her So she was stimulated by their company and also well looked after by them it is important as Artistry goes the way in which these women are shown, you know They dress their ornaments their department their gestures and the way they stand This is this group here and Indra started to throw Gems and gold to enrich the earth in before Rishaba would be born sorry After nine months Rishaba was born and in the morning all these musicians played music and When Indra heard he also showered the earth with gold and when he heard that the child was born He sent Indrani, which you see here to Bring the child the idea was that she would place a mock child in front with the mother Throw the mother in a deep slumber Substitute the child and take the infant Rishaba for his lustration rights on Mount Meru This is the mother. This is the child and this is Indrani picking up the child Notice the ornaments, you know these sort of ornaments and the dress all the wonderful gold and Colours brocades that we see here These all indicate the sort of courtly Vision that we want to see here. We see Indrani coming here with the child And this is Indra on his Aravad with many trunks and tusks lotus lakes and Dancing up sorrows on them and these are the heavenly hosts that come with him So Indrani takes the child and gives it to Indra who puts him in his lap the detail of Indrani Very attenuated form and slender Very attractive depiction We are here now. We are seeing the Garbha Kalyana. I mean the Janma Kalyana the birth Now Indrani giving the child to Indra Then Indra with the child and with all the accompanying gods and other His Indra Sena as these are called Moves towards Mount Meru look at the rendition of the elephant how beautifully it is done And you know, it's about three feet. So about the size you see here These are the ups and outs Some more of the same panel this figure here one of the horses Look at his posture, you know the contra posto in which he is shown and how brilliant the colors are the reds and Interestingly the pinks and the violets that you see here the blues All these are very interesting very interesting palette. I think this movement Sorry, this is We've seen this now we go to this. This is the lustration rights on Mount Meru They say when the procession came it circumambulated the Mount Meru and then it climbed all the way up here and On the Pandukshila here There was the lustration rights that were being performed They were performed with the waters of Kshir Sagar Which were filled by pictures by gods in pictures and passed from hand to hand all the way up on both sides A wonderful landscape that we see here And the Mount Meru is completely made of gold Little figure here the lustration rights are taking place here and all the gods are accompanying them and music being played and On the return the elephant assumes this form. It is one of the most beautiful and really imaginative ways in which I have seen in Airaavath done I've seen many pictures of Airaavath like this But it would be shown with three or four tusks, but look at these tusks and the way in which these Lotuses are heredified this Wonderful composition here and this entire lotus legs with dancing up sirhas. We have all these figures details We are here now. It's the same same panel, but enlarged here for you to see how it is done and a little detail here, there's a certain rhythm and Almost like music in the way in which this Figure is done. This detail is from here After the lustration rights in Rani brings the child and Returns the baby to the elephant to the parents and there he is seated here in his father's lap These are courtiers and this is Naviraj. This is Marudhevi and See the event was the birth of the Jinnah was celebrated with great festivity and Seeing the jubilation Indra got very Excited and he started to dance and this is Indra dancing Detail of his look at the shading the way the eye is done all the saffron put on his face shading of the face Very beautifully done. This is also the color of the booty is very elegant and All the the God started playing music for him Indra dance so beautifully He danced in a manner in which sometimes he was seemed far away Sometimes he seemed near sometimes he made himself small Sometimes he made himself big so he took all sorts of shape I mean sizes and he danced beautifully with these Upsiras on his multiple hands This this is the end of Janma Kalyanak This is how big it is in the scroll and this is the figure that we see here Now these are the three scenes we have from the life of Rishabha, which which Usually do not occur in Panchakalyanak events, but these are shown here here. He is shown as a child playing with other young princes and young devakumar so little Godlings here There's again a certain nice rhythm to the whole composition After that we get his coronation his wedding Here he is seated. He marries two princesses as you can see here This is Yashasvi. This is Sunanda They were sisters and they were both married to him and this is the wedding ceremony with people and these Even as we have today in many weddings these Handas put one on top of another and After this scene goes like this thereafter We have the car the continuity of the story goes like this. There's a panel here, but it doesn't It doesn't belong to his life scenes and this is the coronation of Him becoming the king of Ayodhya now there are three scenes that we see together this It's this one and these two they should have been here, but anyway Then Rishabha was enjoying his life on earth and enjoying all the pleasures associated with kingship and He was ruling the people very well teaching them various professions also Telling them what where the town should be what they should be called etc. Etc. And then Indra felt that it was time for Rishabha to To Really propagate the Jain religion that was the reason why he was born and that is what he should Do be doing so Indra comes and he Brings with him a dancer called Nilan Janna whose life was almost coming to an end and He decided he came and she danced for Rishabha Rishabha sitting here with his courtiers And she danced but as her life ended she staggered and fell and died Indra immediately Substituted another dancer and a lot of people didn't even realize what had happened But Rishabha realized and he began to feel that the futility of life and how it could end suddenly and Then his resolve to sort of renounce wife Then the lokantika gods come and they encourage him to renounce life So then what he does is his two sons one is Bharata the other is Bahubali He give he crowns them both Bharata becomes the After him succeeds him. This is the crown prince and both were the coronation ceremonies were take taking place as he embarked on hence renunciation rights So what he does is he's shown here in his renunciation Palanquin accompanied by gods and by By his courtiers and they all take him outside the town into Wood where he would do his renunciation rights. So here is the scene of Nilanjana falling the lokantika gods coming and Worshiping him and asking him to take up the mission for which he was born on earth Here is Rishabha So these are these two scenes occur samadhi stainless Lee on one side the coronation of the two princesses taking place on The other side Rishabha is leaving his kingdom and going to become a homeless mendicant monk Here now, sorry, I don't know what's going wrong Here we are sorry This is so sensitive that a little movement also makes the slides change Which one yeah Yeah Here we are there. He goes in the Siddhartha cow woods and Pulls out his hair in five handfuls Which are accepted by Indra and then Indra throws them into the ocean of milk But with him a number of other kings also took Deeksha and so they are shown here taking them as Renouncing the world also. This is we have now the 36 emblems of the 24 Tirthankars I am personally not quite sure why this has been put here, but and Many of the persons who were there at Karanjaya asked them And they were also not able to quite give me the reason of why this particular panel is inserted in this position But these are the 24 emblems of the 24 Tirthankars Now this comes as the Keval Gyan Kalyanak of where the Rishabha receives his omniscience When he received when all he received omniscience Indra and the other gods came down and they They built the sum of Sarant some of us are on meaning a place where everyone can get knowledge and He comes and builds this circular sum of Sarant as the texts describe it as There was a circular space made of blue crushed gems and then it had four radial pathways and There were many concentric circles in between the first one consisted of step wells or In some places they say certain Stupas but anyway various descriptions in texts differ But this according to the Adi Purana, which I have been following says this was the Dhuli Shala made of many crushed gems of various colors So it was radiant like a rainbow inside was the region of step wells then came the region of The waters sparkling waters with aquatic animals in it and then came the region of bowers where creepers and shrubs and trees grew and within them were Beautiful slabs of moonstone to to rest on this is the region of bowers Then was the first enclosure in gold and then we have the Well, these don't really quite correspond to the Textual things, but this is supposed to be the woods. There were four types of woods Then there were flags that you see here Then there was another enclosure Then you get the kalpa raksha's and you get the mansions after that was the crystal wall Within that was an open area within which was built a Mandapa with 12 sections for different types of gods and people to sit Also animals and very often you were shown animals though not here which are inimical to each other So you would see a snake and a goat or something like that Or a tiger and a goat and there in the center was built a Gandakuti Which were three tiered with Lotus throne on which see it was seated Rishaba and he was seated in such a manner that he could be seen from all four sides Although he was facing east all from all sides you could see him as you know like a four-sided figure and While he was seated there as he becomes now is ready to be called a titankar He has these eight symbols around him. These are the Ashoka tree Which I think you see here the Ashoka tree the parasol the throne Then there is the halo which you don't see here Halo, then there is Pushpa Rishhti or shower of heavenly flowers then celestial music and Drums here you see the drums here. This is the Pushpa Rishhti the lion throne the halo should have been here So and the Chauri bearers that you see here. These people would have been the Chauri bearers here So these eight symbols accompany the Tirthankar wherever he goes and the whole summer Sharon meet moves with him when he spreads the message of Jainism His when he spoke it was he did not speak like in ordinary words He said when he spoke it was like the roar of the oceans But the message was clear everyone could understand what he was saying and then his ganadharas took his or his Disciples took his teachings and made them into 12 sections So this is the yantra or the symbol which represents his 12 sections of his teachings So all this is part of the sum of saran the sum of saran moved with him to various regions. He went to different cities and different areas and finally he comes to Kailas and Here at Kailas This is the detail of Kailas look how beautifully the rocks are shown He attains Keval Jnana where his soul Goes up all the way to the loka and finds rest on Siddha Sheila over here Where he let his soul rests in total bliss and this is the Kailas Is the ashtapada here? And there he seated where he attains Moksha, so this is the way in which this is painted and It was rather surprising for us to see this and at first when we looked at it Sorry We felt that this scroll must have been painted at in Rajasthan Because it had many of the features that you associate with the paintings of Rajasthan Particularly of Mayvard. These two are from Mayvard. This is also from Mayvard This is from Malwa and this is from boondi But you know the red coloring the sort of blues and all that that I use the way the figures are done all that Indicated that it was done in Rajasthan However, when you take a closer look at the paintings of the scroll what we noticed was That it had many features that I lied to boondi painting You see the way in the which these faces are done Look at the way these faces are done This is a ruddiness of the faces is a very typically boondi trait and we felt that it was Allied to boondi school of boondi and school of boondi painting Then we you take another closer look when you find that it is the way in which these figures are put Composed the coloring here. We can't see it as much but the same coloring as this and In general the the figures the tall listen figures their dress Their department their gestures their ornaments all that sort of resembled the painting here from Bikaner So was this scroll done at Bikaner and then? On at the same time Seeing those Rajasthani traits. We felt it was from Rajasthan, but We also saw things that allied it to decony paintings You know this this is a pitchway from Masali Putnam and you see this this sort of Way in which this is done. This is much more simplified, but the feeling is the same so It was again a Sort of question Could it have been done in the Deccan again? This is from the Deccan and comparisons with the Deccan if you see here See these square Sort of compartments surrounding the middle space, which is again in two registers You sort of see the same composition. This again is a cloth painting done for the European market in Golgunda dated 1635 1645 See in the way in which this panel is composed and this panel is composed The architecture reminded us of some of the later paintings from Hyderabad or Golgunda, which was earlier Golgunda look at the way in which the architecture is you know the central pavilion with two side pavilions the sort of Pavilions terrace pavilions over here there are Bengal roofs that you see here and The saw the garden over here here So again again even the rendering of the female figures and the way they are composed Had certain similarities and affinities to decony painting Here again in a procession scene You know the central figure and the way in which these figures are surrounded The way they are walking This I mean these are not identical Comparisons these give you a feeling a sense of similarity when you look at it These are the sort of similarities you begin to see and this again is a painting from the Deccan again a painting from the Deccan see this sort of circular Semi-circular composition the way in which these figures stand even their facial features and some very similar big eyes Short jolly's long Petticoats and These white sort of what cars Again to decony painting. We see the treatment of the trees, you know these sort of circular foliage You know Arranged in fully again the way in which the tree trunks are white against the foliage Here again circular Clumps of foliage the way in which these see these rocks are done Coloring in General we found more resemblances to the decony school Then Rajasthani school though the overall feeling was Rajasthani There were many features that Allied it to the decony schools now this particular Paintings that we have here These paintings these three paintings are from a rasmanjari that was painted in the Deccan for a Rajasthani patron from Mewar circa in 1650 at Aurangabad and Seeing this which also has several decony features many more paintings were to gain the coloring the sort of Way in which people sit their dress We can see the similarities here. You can see the similarities here. Look at the coloring. Look at the coloring here This is supposed to be more pink and then we have other paintings which appeared to be done in the Deccan and here You know again the similarity of the figures So we began to feel that this scroll was a done in the Deccan in Aurangabad where the rasmanjari was done. This is a dated Manuscript that we have which says that it was done for a Mewar chieftain in Aurangabad Now so far we had no idea that there was a school of painting in Aurangabad and When do you think of the historical circumstances that I mentioned earlier? the wars in the Mughal Wars in the Deccan which started in the 17th century circa 1600 in 1600 the Mughals had conquered Amad Naga and they had established their rule in northern Deccan and Aurangabad had become a center for Mughals and from there they Directed their troop movements. They planned their strategies, but Deccan was the place Aurangabad was the place in the Deccan from where all this Campaigns Mughal campaigns were taking place because they wanted to subjugate the Sultanates of the Deccan The wars in the Deccan went on for very long and many of the many of the commanders in the Deccan army Were Rajasani princes? We know that the kings of Bikaner were there from circa 1600 to 1685 and it was for generation of kings of Bikaner starting from We have Current Singh then his son Mohan Singh then his son Anup Singh all these people served in the armies in the Deccan Similarly, Rao Bhau Singh of Bundi was in the Deccan. He stayed there until 1681 Must have stayed there for 30 40 years and he died there and he erected many buildings in Aurangabad So the presence of the chieftains of Rajasthan in Aurangabad is very strong and since the Wars was so prolonged Many of the people Probably set up many of these Rajasani kings set up their establishments in the Deccan So in mainly in Aurangabad and you begin to feel that when they set up their Establishments, they must have brought their court there. They must have brought their courtiers Which must have consisted also of people like poets and artists who came and painted in Aurangabad so Aurangabad now in circa 1650 to 1700 becomes a strong center of painting and this the painting that happens in Aurangabad is Combines to schools Rajasthani and Deccany and later on the Mughal influence has also come in because the dispersed artists from the Mughal courts Since Aurangzeb who ruled from 1650 onwards Was not at all interested in painting those artists must have come to the Mughal center in Aurangabad and After 1680s the Deccany certainates were demolished and their painters also must have come to Aurangabad So you get this synthesis of many columns coming to Aurangabad and the painting there is Rajasthani nuanced with the Deccany elements or Deccany in feeling but many Rajasthani elements in it So this fusion occurs and it's a fusion that doesn't have a distinctive style But a varied style including all sorts of elements and really quite a delightful Idiom and quite poetic in many of its expressions Now when these kings came there They must have also some of their Artisans or some of their trades people must have accompanied them to satisfy their specific needs and These trades people this is where our interest comes in because with the Mughal campaigns You find that the movements from north to south had become Very common and the roads had opened up. It had allowed mobility of People and artists and all these people with the result that you have lots of trades people coming there and Those people started Settling down in the Deccan, but they brought their Rajasthani ways with them and then after the Mughal war is over maybe they settled in different places in the Deccan and this is where we find This is Karanjah the place where we got the scroll There are three Bhattarak seats in Karanjah one of Mool Sangha one of Kastasanga and one of Sengar so it was an important center of the Jains and the Jains who are really not landowners and therefore not attached to land Must have moved wherever they saw opportunities for trade and the Mughal encampment It is said was like a town it needed so many things that and they weren't Suppliers were needed for provisions for providing cloth for providing items of daily use and these People moved in also many of the Jains who money lenders who must have found a lot of opportunities for trade there so people from Rajasthan come there and people from Boondi Kota came and settled in Karanjah and In this place in a Mandir in this city You find the scroll was there and this explains the Rajasthani and Deccany elements in the style of the scroll and particularly the Boondi elements because the temple the congregation of the temple is Boondi from Boondi They are bugger walls of Boondi and they don't remember where they when they came there Though they do say that it must be over three or four hundred years ago And they say that they they have been very Clanish they did not even though they have naturalized and they wear Maharashtrian clothes and the food has become Maharashtrian They do not marry Maharashtrians They go back to Boondi For for getting a bride or getting a groom and then they come back. So this Community has been very Clanish and they have kept their Clanish ways and their Boondi ways and maybe that is how They must have invited an artist from our Angabad to with Boondi Affiliations to paint the scroll for them now whether it was a leader of the community or whether it was The congregation that invited these artists We do not know but we do know that there is a connection between the scroll and the paint and the Congregation of the same gun Mandir where it was found and the Boondi connection can be sort of explained as these people from Boondi coming to the Deccan for trade purposes and Probably to supply goods to the Mughal army and the Rajasthani Nobleman that were involved in the Mughal Wars So here we find something quite different and Interesting in the way the confluence of influences take place and the sort of expression that emerges out of it Thank you very much