TR NAMghalSohoolof lmiavge

ughal painting is the style of miniature painting that

VLdeveloped in the northern Indian subcontinent in the
sixteenth century and continued till the mid-nineteenth
century. It is known for its sophisticated techniques and
diverse range of subjects and themes. The Mughal miniature
12144CHO3

painting inspired and resonated in subsequent schools and

styles of Indian painting, thereby, confirming a definite
position for the Mughal style within the Indian school of
paintings. Every
The Mughals were patrons of various art forms.
preferences,
Mughal successor, based on his taste and
contributed towards enhancing the status of art, viz.,
book
calligraphy, painting, architecture, bookmaking, artists'
in
illustration projects, etc. They took keen interest
new styles that
ateliers and nurtured unprecedented
scenario of
heightened and accelerated the existing art
Mughal Painting, the
India. Therefore, for understanding the
dynasty is often
political history andgenealogy of the Mughal
taken into account.

Influences on Muqlhal Painting

painting was responsible for
The Mughal style of miniature
themes and styles along
the amalgamation of indigenous
themes and styles. The arts
with Persian and later European
of foreign influences and
of this period reflect a synthesis painting presented a
indigenous flavour. The peak of Mughal
Hindu and European
highly sophisticated blend of the Islamic, diverse yet inclusive
visual culture and aesthetics. Given this
produced in India during
nature, the affluence of the artworks
conventional and indigenous
this period surpasses the The significance of
Indian and Iranian painting of that time.
efforts of its patrons and
this style lies in the purpose and
they envisaged
the unmatched skill of its artists. Together,
philosophies and
and expressed a congregation of tastes,
faiths by their extraordinary visual language.
 INDIANA
INTRODUCTIONTO
formal;
AN more
became were brought
arts artists Indo- fron
Mughal
courts, many
workshops
and harmonious
blend of
This
Iranian
celebrate
In the years.
there
were resultedin a
its
early
only
due to
its
both distinctive
36
which
Iran, especially
during possible
was engaging
artists of Indian
styles, Mughalart and towards making, and
eminencein assimilating contributed Mughal style.
characterof origins, who paradigm of
the
artistic gildere
Iranian painters,
and elevating the calligraphers,
further documented significant
consisted of and emperors. These wo
atelier recorded made
TheMughal
binders.
Paintings interestsofthe paintings were
intellectual
and personalitiesandroyalsonly. The made as manusCripte
events,
beseen bythe royalsoroften of
meantto sensitivity ofthe were a part
to suitthe paintings
stimulation. The
and albums. historical roots
paintinghad rich
tradition ofart and learned in the previous
The already developed on
about which we have idiom that
in India celebrated Mughal consequence of
chapters. The understood as a
the Indian soil
should be
including the pre-Mughal
schools, Persia. Thus,
interaction of various of India and
contemporaneous art schools nurtured
and
not grow in vacuum. It was
the Mughal style did schools that
interaction with other art forms and
by direct Mughal painting
already existed. The indigenous Indian and and various
styles coexisted, assimilated the influences
native talents in different ways.

The pre-Mughal and parallel indigenous schools of paintings

in India had their strong distinct style, aesthetics and
purpose. The indigenous Indian style emphasised on flat
perspective, strong use of lines, vivid colour palette, and bold
modelling of figures and architecture. The Mughal style offered
subtlety and finesse, portrayed
figures and created optical reality.almost three-dimensional
The royal court scenes;
portraits, depiction of
the favourite themes ofaccurate flora and fauna
the Mughal artists. Thus,were some O1
painting the Mughal
Indian artsushered
in a new style and
of that time. sophistication to the
The Mughal patrons contributed to the
of the
Mughal style of painting proliferatio
preferences, Inchoice of with their distinct artistic
the subjects, philosophies and aesthetic
sensibilities.
learn aboutthe following segment of this
development
chronological order. of chapter, we shall
Mughal miniature painting in
 THE MuGHAL SCCHOOL OF MINIATURE PAINTING 37

Early Mughal Painting

In 1526, Babur, the first Mughal emperor, came from
oy Uzbekistan and was a present
nd Chatghtai Turk. With descendent of Emperor Timur
this, he blended the cultural
hackeround and aesthetic sensibilities of Persia and Central
oia Babur had a dynamic taste for a
is reputed to be a variety of arts. He
man of letters and a keen patron of art,
manusçripts, architecture, gardening, etc. Babur's detailed
accounts in Baburnana, his
of the emperor's political autobiography,
are narratives
carrier and artistic
Baburnama reflects the love and fondness that Baburpassion.
had as
an outsider for the Indian land and ecology. With his
for detailed writing, Babur established a fervour
tradition keeping
of
memoirs, a practice which was followed by his successors
in India. The books and albums that
were produced in the
royal ateliers were not only calligraphed but also painted.
These books of value were preserved and passed on to
members of the royal family or gifted to those perceived as
deserving. Babur had a keen eye for portraiture and this is
also recorded in his memoirs. Among the artists, who find
mention in Babur's memoirs is Bihzad. Bihzad's work was

Princes ofthe House of Timur,

Abd us Samad,
1545-50, British Museum,
London
 AN INTRODUCTION TO ÎNDIAN
38 ART-P
draw the faces well: he used
dainty but he did not to
bePegrarresdiateaany
(ghab-ghab); and drew
lengthen the double chin
faces admirably. Bihzad
was amaster artist from the
school of painting, Herat (now in present day
and was known for his sophisticated
colour tints. Also, Shah
Muzaffar finds a
the
Afghanistan,
compositions
mention and as a
painter, who Babur thought excelled in
of hairstyle. Although Babur spent little time on the representation
soil and passed away soon after his arrival, his In di
successorsan
made the country their own and became a part of the
Indian lineage.
Babur was succeeded by his son Humayun in 1530. wh
unfortunately fell prey to political unrest, and his ife tol
many unexpected turns. Dethroned by an Afghan, Sher Khan
(Sher Shah), Humayun took refuge in the court of the Safavia
Persian ruler, Shah Tahmasp. Although inglorious for his
political career, this was fortunate for the startling tum
that the art of manuscript and painting under him took as a
result of his stay in Safavid. It was during his exile in
Shah
Tahmasp's court that Humanyun witnessed the
Tutinama: The Girl and artistic tradition of miniature paintings and magnificent
the Parrot,
1580-1 585, Chester was thrilled to see the manuscripts. He
skilful artists in practice,
Beatty Library, Dublin splendid works of art for Shah Tahmasp. creating
With the assistance
of Shah Tahmasp,
Humayun established his
court in Kabul in 1545.
identified himself with aHumayun
political
increasingy
and
agenda for his dynastic empire cultural
eclectic and assimilative. that was
ambitionImpressed
artists and with an by
art to recreate Su
back workshops
in
with him theIndia, Humayun when brought
regained power in India.master artists
He invited two
he

toartists--Mir aSayyid Ali and Abd us Perst Samad

out establish studio in his
royal paintings. COurt and carty
here that both It is important to not
the artists famous and
ofrespected particularly for their skills in the art
were
portraiture.
A
bibliophile of
Humayun's forrulethebegandiscerning sensitivity,
a period of intense
patronage of painting and

calligraphy.
and textual Fromn his period,
art
we get clear visua
documents that testify an active
THE MUGHAL SCHOOL OF MINIATURE PAINTING 39

interest in building an artistic repertoire and an imperial

atelier. This is an indication of Humayun's artistic taste and
helps us form a picture of Humayun as a connoisseur and an
aesthete. He founded the Nigaar Khana (painting workshop),
which was also a part of his library. Not much is known
about the size and comnposition of Humayun's workshop in
India. However, it is known that he started the project of
1lustration of Hamza Nama that was continued by his son
and successor Akbar.
from
When we look at an extraordinary Mughal painting
Timur (1545-50),
the early period, Princes of the House of in opaque
probably by Safavid artist, Abd us Samad, size and
its
watercolour on cotton, we are surprised by portraits. A
historical
complex structure and display of
family, it has portraits
prized possession of the imperial to register the portraits
original
that were painted over the visible in Babur inspeting the fort
of
successive members of the Mughal dynasty. So, Gwalior, Bhure, Babunama,
of portraits of Akbar, Jahangir
and 1598, National Museum,
their physical likeness are during New Delhi
subsequently over those painted
Shah Jahan painted
the reign of Humayun. blossoms,
air painting with trees and
Open the
royal merrymaking, which depicts
and Mughal dynasty were
ancestral members of the patron of
after Humayun, who was the
followed theme, figures
kind of artwork. The format, Persian. There
this remarkably
palette are there
and colour may state that
indeed at this point we having Indian
is
particular dominant element changes to
is no thisvocabulary
inspiration.But soon, and peculiar Mughal
accommodate the growing
sibility and distinct imperial taste. painting
sen for
and fascination forward by
The tradition was carried
Humayun (1556-1605). Abul
started by Akbar
son about
his illustrious historian of Akbar, writes
Fazal, the court that more
for arts. He records
Akbar's passion in the
artists were employed skilled
hundred the most
than a
This included that
royal atelier.
indigenous Indian artists of
Persian and of Indo-Persian
integrated composition unique style
time. This development of a
artists led to the artists together undertook
These
in this period. established new artistic
ambitious projects that
 40
AN
JNTRODUCTION TO INDIAN ART -PARr I
standards with regard to visual language, as wejl
subject matter. Akbar, believed to be suffering from
(a condition where a dyslevi
person finds dificulty in reading), laid
great emphasis on illustration of
his patronage that several manuscripts. It was under
and illustration of seminal projects of translation
The
manuscripts were carried out.
earliest of his projects is the
artistic legacy of Hamza Nama, an continuation ofhis father's
heroic deeds of Hamza, the uncle illustrated
of Prophet
account of the
Akbar took delight in hearing the stories of Muhammad.
much loved in the Middle East Hamza, a character
circles, which were read out aloud bypopular and intellectual
a professional
narrator.
Simultaneously, the corresponding folios and
Nama narrative was held for a clear view. painted Hamza
The emperor took
great interest in both pictorial narrative, as well
of Hamza Nama. Because of the as, recitation
peculiar function of these
paintings, their format is large. The base surface is cloth
with paper at the back, on which the
narrative text is written
to help the narrator and the
technique applied is gouache,
which is water-based and in opaque
Spies of Hamza cttack the colours.
City of Kaymar, 1567-1582, One realises that Mughal paintings were a
by a group of artists, who could be inspired by a teamwork
Museun ofAppied Arts, number
Vienna of artistic traditions. The immediate natural
surroundings
becamne the resource from which the images of
flora and fauna were derived and painted. The
painted folios of Hamza Nama are scattered
all over the world and housed in various
collections. It is recorded to have consisted
of 14 volumes with 1400 illustrations and
took nearly 15 years to be completed. The
suggested date of this magniñcent project
is 1567-1582 and was completed under the
supervision of two Persian masters Mir
Sayyid Ali andAbd usSamad.
In Hamza Nama painting, Spies Attack the
City of Kaymar (1567-82), the space is sharply
to facilitate visual
Cut and divided so as
much of action
reading of the narrative. Too colours are of
the vibrant
is happening and this
use here to energise the unfolding of
geat the
spies of Hamza attack
Story, wherein, the the
strong outer line defines
City of Kaymar. A The faces are largely
toliage and other forms.
THE MUGHAL SCHOU IVIINl

faces are also shown.

seen in profile. However, three-fourth
The rich intricate patternsonon the floor, columnsand canopy
the four-limbed animals
are from Persian sources as also
Indian source as also
and rocks. Trees and creepers indicate
browns.
the rich palette of pure yellows, reds and commissioned
Akbar envisioned cultural integration and commissioned
He
translation of several revered Hindu texts.
Sanskrit texts into
translation and illustration of revered
illustrated version of
Persian. The Persian translation and
this period came to be
the Hindu epic Mahabharata done
Razm Nama. This was completed in 1589 under the
known as manuscript was
This
supervision of master artist Daswant.
contained 169 paintings.
scribed in ornate calligraphy and Ramayana were also
of the
The translation and illustrationArtists like Govardhan and
carried out around this time. scenes.
were celebrated for their visuals of court
Miskin
extraordinary manuscript, containing a
Akbar Nama, an political and personal life, was
detailed account of Akbar's
most expensive projects undertaken by Akbar.
one of the artists, and supervised and
Akbarpersonally engaged with the
artworks. The Mughal painting under Akbar's
evaluated the subjects, including, detailed
variety of
patronage depicted a court scenes, secular texts,
seminal
political conquests, with Hindu mythologjes,
men along
portraits of important themes. Akbar's
fascination for
Islamic
and Persian and
regard for India made him oneof the
Indian scriptures and
emperors of the country. from the time that
most popular paintings, produced
In most of the the court of
Akbar, we
were in contact with
the Europeans preference for a category of naturalism
increasing
can see an
the growing diversity in medieval India.
adapted to compliment(1580) done in opaque watercolour on
Madonna and Child the Mughal School
of
early work of
paper is an important Madonna, here, is an extraordinary
this context.
Painting in European
brings the Byzantine art, the
theme, which to the Mughal atelier, where it
classical and its Renaissance visual
and transformed into an entirely different
is translated draped in a classical manner. The
experience. Virgin Mary is
mother and the child was
attachment displayed between the
in the European
inspired by the humanist interpretation certain details
Renaissance art. The physiologY of the child,
integrated the work to
like the fan and jewellery completely
an Indian milieu.
 AN IN
EouION IO) INDIAN ArL

Inspired by Akbar
'N interest in
many Nub npcual courts absorbed this arts,
NCvCral grcat works of art
were produccd tot istocratic families,
whoricd to copy the vorks
Mughal court atelier
produced that present
taste nd ndI visual preferences
istinctivesubjccts
inregional tlavour.
formalised the Mughal
Akbar had standards, whick
miDure style nd set
heights by hie
further taken to ncw
werc Salim
Jahangir (l 605-16027). Prince
son
showed interest in art from an
(Jahngiu)
Unlike his lather Akbar, who
Crly age. manuscripts
Commissioned paintiigs andl significant
religiously
of politically and had acurious taste
uspccts, PriDce
Salim
nd cncouraged
delicate observations and
fine details.
employcd Aqa Riza,
Jahangir painter and his
well known Iranian
achieve unparalleled
sOn Abul Hasan to the
sophistication in painting. Despite atelier
imperial
formalised and established
in Jahangir
of Akbar, the keen patron his
rebelled to set his own atelier alongside
known
father's. Prince Salim cam to be
once he
as Jahangir-the World Seizer
acquired the Mughal throne after his return
from Allahabad. Tuzuk iJahangiri, the
memoirs of Jahangir, tells about his great
interest in arts and his eflorts of achieving
Madonna and Child, scientific correctness in the rendering flora and fauna that
Diego
Basawan, 1590, San interested the Enperor the most. Under his patronage, he
Museum of At, Califoria Mughal painting achieved naturalisnn and scientific accuracy
of the highest degree. The curiosity and wonderment that the
Emperor had for nature and pcople around him is reflected
in the works that he commissioned.
In contrast to the Akbar's atelier, where the works were
mass produced, Jahangir's atelier gave preference to a lesser
number and better quality of artworks produced by a sing
masterartist.The Muraqusindividual paintings tol be mounted
 43
PAINTING
THE MUGHAL SCHOOL OF MINIATURE

in albums became popular under

Jahangir's patronage. The margins of
the paintings were highly illuminated
in gold and embellished with flora,
fauna, and often poised human
figures. The war scenes, portraits,
narrative and storytelling prevalent
overtaken by
in Akbar's style were
minute details and refined rendering
aristocracy,
of lavish court scenes,
royal personalities, as well as,
distinctiveness
character traits, and
of flora and fauna.
Jahangir was presented with
objects,
paintings and decorative Europe,
depicting high arts from who
Europeans,
as gifts from the With such a
visited hiscourt.
English Crown,
contact with the
European
Jahangir's fascination for have
prompted him to
art and theme collection.
works in his
more such Christian
religious
Many celebrated produced in the
themes were also
atelier of Jahangir. Given
royal artistic exposure,
this cultural and
sensibilities started Hermt,
Prince and a
European art prevalent A
Shahi,
way into the Jahangir schoo1 of foio from Diwan of Amir
making their the
thereby, mnaking spatial depth of the 1595, Aga Khan Museum,
Indo-Iranian style, vibrant. The reflect
Canada
impressive and representation of life
art more naturalistic created for
composition and sensitive patron
benchmarks that the
of the Mughal atelier
the high artists
The styles-indigenous, Persian
during his lifetime.
art the three melting pot
creatively assimilated the Mughal Art School a
making in its own way.
and European, of its time yet very distinct(now, dispersed),
styles Jahangirnama
of vibrant from excellent
Jahangir in Darbar Manohar (1620) is an
centre,
Hasan and level in the
attributed to Abul highest
is at the figured frame to
painting. Jahangir immediately from his clear colours
move
where the eyes surrounded by sparkling right side,
pillars
stunning white framed On the
overhead canopy.
and briliantly
 AN INTRODUCTION TO INDIAN ART
-P ARTI
Khurram stands in attendan
with his hands folded, flankei
by his son Shuja, son of Mumta
Mahal, whowasraisedin the cou
by Nur Jahan. The courtiers
who are placed according to
their ranks, are easily identifiable
as their portraiture is perfect and
realistic. Father Corsi, a Jesuit
priest, has his name inscribed
to aid easy identification as he
stands with other known nobles
in the audience. Elephant and
horse add to the ceremonious
importance to this event as
hands are raised and heads bow
to salute Jahangir.
Jahangir's Dream (1618-22)
by Abul Hasan, given the title
Nadir al Zaman, meaning the
Wonder of the Age', refers to the
Emperor's dream, in which he
was visited by Persian Safavid
emperor Shah Abbas, his
rival, who possessed the much
desired province of Qandaha:
Interpreting it as good omen, he
had the cour artist Abul Hasa
paint the dream. In this painting
political fantasy takes Over

and the presence of Jahang

Jahargir in Darbar, dominates the Composition. The
Persian Shah and
appears frail
Jahangimama,
Abul Hasan urd
1620, Manohar, Jahangir. The kings stand vulnerable as he is embraced by
Museum of Fire Ants, Bostorn they hOver over much of on a globe, and betweenanimals them,
sleep quietly. India and Middle East. Two
not escape theHowever,the symbolism of depiction does
viewer. The their
towers, and the docile powerful lion, on which Jahangií
stands,
Sun andsharing a sheep, on which the Persian Shah
inspired
magnificent resplendent
Moon held by two golden halo of
the
in the
by the winged angels indicate of being
incoming European art motifs
Mughal court. and imageries
THE MUGHAL SCHOOL OF MINIATURE
PAINTING
45
In the
painting, Jahangir enthroned on an
Hourglass (1625), symbolism is creatively applied
by the court painter, Bichitra, who can be seen
the emperor's right hand on
corner holding a painting
in his hand, which would be
his offering to the
mighty emperor.
Persian calligraphy adorns the top and bottom,
which in verse says that the Shahsof this world may
stand before him as Jahangir prefers to have the
dervishes. Portrait that resemble the Ottomnan Sultan,
King James I of England also stands on the right hand
with gifts for the mighty emperor. Jahangir offers a
book to Shaikh Husain ofthe ChistiShrine, descendent
of Shaikh Salim, in whose honour Akbar had named
his son Salimn.
The son of Jahangir, Prince Khurram, succeeded the
throne of Delhi by the name Shah Jahan (1628-1658).
With this, he not only acquired a politically stable
empire but also the finest of artist and atelier. Shah Jahangir's Drean, Abul Hasan,
1618-1622, Smithsonian Institution,
Jahan encouraged the artists in the atelier to create Washington D. C.
magnificent works that were a blend of imagination
and documentation. Idealisation and great stylisation
were preferred over naturalistic rendering and
accurate depiction. The artworks produced under his
supervision concentrated on subliminal qualities and
exalted beautification, which was created by the use
intricate
of jewel-like colours, perfect rendering and
were
fine lines. The higher concepts in the painting
visuals were created
gven much prominence and the
meticulously to cull out multitude of interpretations
offer. His love for
that a single painting could
for monumental
Sparkling jewels and gems, passion inform us
architecture and subject choice of paintings behind.
he wanted to leave
of the majestic image that
titles were painted to
Imperial portraits with glorious
emperor himself.
present the personality of the King) is one
Padshahnama (The Chronicles of the
the most exuberant painting projects undertaken
of reflects the extraordinary
by his court atelier and that Indian
manuscript that presents the height Mughal painting
miniature painting achieved. Theimpressive play of Jahangir enthroned on an Hourglass,
Bichitra, 1625, Smithsonian nstitution,
during this time depicted the
enchanting palate of colours Washrngt on D C
multiple perspectives,
 AN INTRODUCTION TO INDIAN ART -PART I

historice
46
sophisticated compositions to portray royal,
and
and mystic subjects. had embraced and
of Painting, which
The Mughal School blend of the leading art
traditio
presented the exuberating
the
contemporary world, began to inspire Europe European
of its
time. Rembrandt, a celebrated
artists of that the Mughal court paintine
inspired by
painter, was deeply several Indian drawings to master
and made studies of show the celebrated
position
lines. His studies
the delicate painting occupied in the world
that the Mughal miniature
art scene. Dara
legitimate successor of Shah Jahan, his son
The liberal unorthodox
life. As a
Shikoh, was denied his empire and
Dara's commitment to Sufi mysticism and deep
Mughal,
thought was outstanding. His
Dara Shikoh wvith Sages in interest in Vedantic school of
exceptional painting,
a Garden, Bichit ra, early persona has been immortalised in this
severteerth century. Chester
Dara Shikohwith Sages ina Garden(1635). Loved by hispeople,
Beatty Library, Dublin scholar, who knew many
Dara, the
languages, including Sanskrit, is
the central theme here. A poet and
connoisseur, he commissioned a
special album of painting to gift
his wife. Unfortunately, Dara, due
to his passion for literature and
philosophy, was misinterpreted
as submissive and that his
personality lacked dexterity for
political administration. Dara,
in apparent contrast to his
brother Aurangzeb, was eclectic,
philosophical and inclusive in his
approach to ideological issues
and conflicts.
In the war of succession
that occurred in the lifetime of
Shah Jahan, he was defeated by
his brother Aurangzeb. Alamgr
to
Aurangzeb came to power
stimulate the political scenario
and give it the verve of Akbar's
period. This succession and series
of battles and conguest in Deccan
India got the Mughal empire back
 47
TuE MUGHAL SCHOOL OF MINIATURE PAINTING

on track. His focus was on the expansion of the Mughal empire

and itsunification under his leadership. Aurangzeb did not
nut as much effort to elevate the production of the Mughal
atelier. However, unlike the popular belief the royal atelier
was not shut down immediately and continued producing
beautiful pointings.
Later Mughal Painting
Due to gradual decline of ardent patronage, highly skilled
artists left the Mughal atelier and were welcomed by provincial
Mughal rulers. These rulers imitated the Mughal royalties Bahadur Shah Zafar,
and wanted to recreate in paintings the glory of their dynasty 1838, Fogg Museum of Art,
Cambridge, UK
and events of their court.
 AN INTRODUCTION TO INDIAN ART
48 Although some masterworks were produced during the PART
periods of Muhammnad Shah Rangila, Shab Alam II and
last flickers in
Zafar, these were mere
that was the Mughal miniature style. Bahadur Shah
Bhadur Shah
the candle
Zafar,
made about two decades before
dated 1838, was who
painting, Burma by the British, were quick to
to
he was exiled authority remains
claimantto Mughal
see that no claim their imperial
anywhere
authority, after the
near Delhi to Revolt of 1857. He was the last Mughal failure
of the Indian
poet, scholar and
connoisseur. ruler,
whowas alsO a political environment, unsettled regional
ascendancy
The
kingdoms
new
and threat of English changed
thrived to
the
painters
India yet again. The choice
art scenario of their aesthetic concerns,
patrons, Eventually, the Mughal
the changing visual language.
subject matters and into other styles of the
Provincal
miniature style converged
and Company School.

Proes ofMughal Painting we see as

Mughal miniatures
the paintings that
Most of i.e., the visual
manuscripts androyal albums,
were parts of For making book
given format.
and text shared space in a was adopted. Sheets
of
painting, the following process
and cut to suit the size of
handmade paper were prepared to
manuscript. Designated space was left for the artist
the
composition. Then, the pages
fll it with a suitable visual was written, it
Once the text
were ruled andfilled with text.
compose a synoptic visua
was given to the artist, who would from the
representation of the text. The artist would begin
1.e,
stage of making the composition, i.e., tarh, to portraits,
chiharanama to the final stage of colouring, i.e., rangam

Colours and Tahnique of Mughal Painting making

The painters in the atelier were also masters of art
colours. Mughal paintings were made on handmade colours
pap
The
which was prepared especially for this purpose. SOurces by
were opaque and were obtained from natural of
shades
grinding and mixing pigments to obtain perfect
colours. The paint was applied using a variety of brushes
made with the hair of squirrels or kittens. In workshopS,
painting was a combined effort of a group of artists, among
whom basic draft drawing, grinding and filling in of colours,
 THE MUGHAL SCHOOL OF MINIATURE PAINTING
and adding details were, 49
may also have been usually, distributed. However, they
produced single handedly.
Thus, the artworks
nhase were collaborativeproduced during the
efforts of the team ofearly Mughal
based on one's specialisation, each artists. And
an aspect of the painting artist would undertake
that he was comfortable with
or delegated. Records tell us
that the artists were given
incentives and increments in their salary
work done. The recorded names of the according to the
mnaster artists also
informs of the position that they enjoyed in the royal atelier.
Once the painting was complete, agate, a
used to burnish the work to gemstone, was
set the colours and give desired
radiance to the painting.
Some of the pigments and colours achieved from those
were-vermilion from cinnabar, ultramarine from Lapiz Lazuli,
bright yellow from orpiment, shells grounded for making
white and lampblack from charcoal. Gold and silver powders
were mixed with colours or sprinkled to add extravagance
to a painting.
PROJECT FOR 8TUDENTS
Select around five quotations from a writer, poet or
choice.
philosopher. Tran slate them into the language of your
calligraphic
translation in a
Create a manuscript with your
and ornate borders, drawing inspiration from the
style
Mughal manuscripts.

ExERCISE India by
master artists, who were invited to
1. Name two detail.
their masterpieces in
Humayun, and discuss undertook, discuss
projects that Akbar
several art about it.
2. Out of the work, explaining what you like
your favourite Mughal court,
comprehensive list of artists in the words.
3. Make a painting of each in 100
briefly explaining one paintings of your choice, discuss the
elements
examples ofthree Eropean visual
4. With Indian, Persian and
indigenous medieval period.
prevalent during the
NOAH'S ARK
Noah's Ark, from a
dispersed Divan-i Hafz
painted manuScript of
1590, is an eXcellent
painting in subdued
colour palette and
has been ascribed
to Miskin, one of the
masters at Akbar's
imperial atelier.
Prophet Noah is in the
ark, which is carying
animals in pairs so
that they may continue
tofiourish after the
threatening flood sent
by God to
punish
human beings for
their sins.
In the painting,
the sons of Noah are
in the act of throwing
Iblis, the devil, who
had come to destroy
the ark. The use of
pure white and subtle
shades of red, blue and
yellow is charming.
The rendering of water
is convincing and the
vertical perspective
infuses the painting
with an element of
heightened dramatic
energy. This paintin8
lies in the collection
of Freer Gallery of

Art, Smithsonian
Institution, USA
D. (C.,
Washington
 IHE
VIUGHALCHOOL.OF
MNIATURE PAINTING
Krishna Lifts Mount KRISHNA LIFTS MoUNT 51

from a

Purana is
Govardhan
dispersed Harivamsa GOVARDHAN
(1585-90). attributed
to
It is in the Miskin
of the collection
Art, Metropolitan Museum of
New York, USA.
Purana is One of Harivansa
the many
Sanskrit manuscripts, which
were translated into Persian
by the Mughals. This painting
is on a theme from
Harivamsa.
Badauni, a scholar noble in the
court of Akbar, was assigned
the job of
translating this
volume on Lord Krishna into
Persian. It is
interesting to note
that Badauni was famous for
his orthodox religious views,
much unlike Abul Fazl, another
famous scholar chronicler in
Akbar's court.
Hari or Lord Krishna lifted
the mountain, Govardhan,
with all Creatures dwelling
therein with the intention to
protect them: -the villagers
and their livestock, who were
his followers, from torrential
rain sent by another powerful
God Indra. Hari uses the
mountain like a huge umbrella,
under which the entire village
takes refuge.
 TO INDIAN ART PART I
AN INTRODUCTION

BIRD REST
52
FALCON ON A
a title Asr,
Ustad Mansur, Nadir ul
Cleveland Muse
received
This painting by the collection of :
is in brought to
from Jahangir, Jahangir had fine falcons
Art, Ohio, USA. connoisseur, he had them painted.
as a keen official
collection, and
images were
included in his biography
episode described
These interesting by
Jahangirnama. There is an presernt from Persian emperor
brought as a was mnauled
him of a falcon the falcon, which
to do with
Shah Abbas. This is desired
death, and the Emperor
resulting in its preserving its memorv
by a cat, the dead falcon,
paint
his painters to
Bird Rest
for posterity.
shown here, Falcon Perched on a
The painting paintings thatwere painted by the
(1615), is one of the many
Mansur.
Mughal artist, Ustad
 THE MUGHAL SCHOOL OF MINIATURE PAINTING
53

ZEBRA
he zebra in this painting was from
rks. and presented to Mughal emperor
Ethiopia, brought by
nableman Mir Jatar, who had acquired it. Jahangir
by his
Jahangir wrote
on the painting in Persian, the court language, that it
«A mule which the Turks (rumiyan) in the was:
Mir Jafar had brought from Ethiopia [Habesha".company of
Its likeness
was drawn by Nadir ul asr (Wonder of the Age)Ustad Mansur.
In Jahangirnama, it is clearly stated that the animal was
presented to him during Nowruz or New Year festivities in
March 1621. Itisalso mentioned that Jahangir had carefully
examined it as some thought that it was a horse on which
someone had painted stripes. Jahangir decided to send it to
Shah Abbas of Iran, with whom he often exchanged rare and
unique gifts, including animals and birds. And the Shah would
also send him rare gifts like the Falcon discussed earlier.
The painting later came in Emperor Shah Jahan's
possession. It was added to the royal album of paintings
and calligraphies. The ornate borders of the painting are
additions made in Shah Jahan's reign.
 AN INTRODUCTION TO INDIAN ART
54
OF
-PART I|
PROCESSION
THE MARRIAGE
DARA SHIKOH
This painting, a work by artist Haji Madni, belongs to
period of Shah Jahan, who built the Taj Mahal in Agra. It
1s a portrayal of the marriae procession of Dara Shikoh,
the eldest son of Mughal emperor Shah Jahan. The Mughal
with
prince is shown mounted on a brown stallion
traditional sehra and is accompanicl by his father, Shok
Jahan, who has a resplendent nimbus around hid head, riding
a white horse. The marriage process0n 1s accompanied and
received by music, dance, gifts and fireworks. The artist
has created the glamour of the marrlage prOCESSIOn with all
its pomp and show. This painting is in the collection of the
National Muscum, Ncw Delhi, India.

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