| Egyptian Journal of Archeological and Restoration Studies

Authors:
Gaber, N.
Islamic Archaeology dept., Faculty of Archaeology, Ain Shams Univ., Cairo, Egypt

Abstract:
The present research paper aims to study the art structure of illustrations in the opening of the manuscripts of the Indian Mughal school in the 10th–11th H./16th–17th G. centuries that had several concentric circles, including circular and golden lobed shapes decorated with floral decorations and bird paintings, especially the central gilded circle, in which the painter used to add the name of the Mughal emperor, the Mughal emperor stamp, or a half-length painting of the Mughal emperor. Most researchers of Islamic paintings used the term shamsa because the symbol of the enlightened sun, derived from ancient civilizations, was prevalent in a form that resembled the circular and lobed structure in the Mandala. This paper discusses the ritual, universal, and political symbolism and effect of the Mandala in ancient Indian cultures on painting. It also discusses the shamsa used for this artistic structure, which was generally used in Islamic arts, and its compatibility with the Indian mandala decorations as an art structure with no religious symbolism, like the Indian art. The study highlights the importance of the concept and symbolism of the mandala and its relation to the Indian Mughal painting. Additionally, Indian Mughal artists employed it as a continuous local ritual effect with the same previous symbolism integrated with the Mughal concept about the ruler, as well as his legal rule and spiritual status among the people. The study highlighted the doctrinal, spiritual, and political importance of the mandala and discussed its symbolism in each aspect. It illustrated the Mughal thought about the emperor and his position as a solar ruler.

Keywords:
Mandala Surya Majapahit Chakravala Shamsa Frontispiece

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