Mughal miniature painting

Mugal painting is a particular style of South Asian, particularly Indian painting confined to miniatures either as book illustrations or as single works to be kept in albums (muraqqa). It emerged from Persian miniature painting (itself partly of Chinese origin) and developed in the court of the Mughal Empire of the 16th to 18th centuries. The Mughal emperors were Muslims and they are credited with consolidating Islam in South Asia, and spreading Muslim (and particularly Persian) arts and culture as well as the faith.[1]

Mughal painting immediately took a much greater interest in realistic portraiture than was typical of Persian miniatures. Animals and plants were the main subject of many miniatures for albums, and were more realistically depicted. Although many classic works of Persian literature continued to be illustrated, as well as Indian works, the taste of the Mughal emperors for writing memoirs or diaries, begun by Babur, provided some of the most lavishly decorated texts, such as the Padshahnama genre of official histories. Subjects are rich in variety and include portraits, events and scenes from court life, wild life and hunting scenes, and illustrations of battles. The Persian tradition of richly decorated borders framing the central image (mostly trimmed in the images shown here) was continued, as was a modified form of the Persian convention of an elevated viewpoint.


The Emperor Shah Jahan standing on a globe, with a halo and European-style putti, c. 1618-19 to 1629.
The Mughal painting style later spread to other Indian courts, both Muslim and Hindu, and later Sikh, and was often used to depict Hindu subjects. This was mostly in northern India. It developed many regional styles in these courts, tending to become bolder but less refined.

1. Mughal Miniature Painting Srikanta Goswami

2. Origin and development Babur conquered north India in 1526 C.E. Established Mughal empire Fifth descendant of Timurlung Mother side of Chengiz Khan He hardly got time to establish atelier of own but was a great lover of persian art of Safavid dynasty Humayun himself got very little time and lack determination He brought two Persian masters and set up his court in Kabul Akbar got his artistic taste from them Before the death of Humayun illustration of “ Dastan -i-Amir- Hamza ” of “ Hamza-Nama ” Akbar assed the the throne in 1556 at the age of 13 He built the great imperial atelier with best equipments and best among Hindu artist They work undr the Persian master Mir Sayyid ali and Abdus Samad The painting in Akbar’s ‘ taswirkhana ’ was a group work The illustration of Hamza nama took 25 years to complete and finished in 1575 The paintings are too large usually over 2 ft. and proportionately broad The painting topics were Hamza-nama , Sadi’s Gulistan (moral tales), Hafiz’s Diwan (Mahabharata), Razm Nama ( ramayana ), ‘ Tarik -i- Alfi , jama Nama , Shah nama , taimur nama , babur nama In 1589 Akbar receive a copy of Bible with Flemish engraving He brought many European paintings Indian artists learnt Perspective, shading, Depth, showing horizon, cloud and sky more realistic manner Thus Akbar can be attributed as the true founder of Mughal Miniature Tradition continue during the time of Jahangir and Shahjahan Decline during the time of Aurangzeb who banned painting and art work

3. Features of Mughal School Denotes the Habit and costume of the ruling class The paintings are secular, academic, objective, dramatic and eclectic Book illustrations are primary subject of Mughal Miniature Mughal Miniature are male dominated in Character The images of noble ladies are imaginary as they never came out in public with-out Burkhah No painting was done by single artist but a collective effort of two to five artists The headman gave the instructions The chief artist make the layout The lesser artist make the figures and the back-ground and so Portrait took an important part in Mughal Miniature The figures are done in profile or quarter profile In Jahangir’s time representation of birds, animals and flowers are exquisite In the initial paintings bright enamel like colours were used By Jahangir’s time the usage of colour were soft, subdued and less enamel like The brush with single hair were used to draw fine lines The lines were so fine that the artist had to use mirror The special features of Mughal Miniature includes: Calligrapic inscriptions Halo around emperor’s head. Decorative Hasish or border

4. An exquisite piece from Akbar’s atelier Krishna holding mount govardhan on his little finger Massive rocks, trees, innumerable animals like deer, monkey make the hill realistic The rendering of the mountain shows strong Persian influence Little bit of sky visible above mountain All the people of Braja gathered below the mountain with cattle Blue is the predominant colour Lord krishn in Virata-rupa or gigantic size Dressed in Pitambar , White garland flower on neck He is holding the mountain effortlessly Made for the manuscript “ Harivansh ” KRISHNA LIFTING MOUNT GOVARDHANA ARTIST: MISKIN TEMPERA ON HAND MADE PAPER PERIOD: AKBAR

5. BABUR CROSSING RIVER SONE ARTIST: JAGANNATH TEMPERA ON HANDMADE PAPER Fine blend of Persian and Rajasthani Miniature Six boats in the high tide of river Sone Representation of Babur and 27 attendants in elaborate details Babur sitting on a large boat on well decorated throne surrounded by attendants He is dressed in red coloured royal costume with turban and waist band In another boat the well built umber colour horse of Babur can be seen Richly decorated saddle in blue colour and golden border Two gunman in the fore ground fighting with crocodile in the fore ground In one boat five occupants have captured a rare fish Two of them looking towards the fish and 2 looking towards Babur Two fishes are shown in circular manner beside Babur’s boat Turbulent water of the river is beautifully depicted

6. JAHANGIR HOLDING THE PICTURE OF MADONNA ARTIST: ABUL HASAN WATER COLOUR AND TEMPERA ON HAND MADE PAPER JAHANGIR SCHOOL Portrait painting reached in peak during the time of Jahangir Jahangir’s portrait in profile Holding a small picture of Madonna in right hand presented to him by Jessuit father from Goa The portrait shows decorative floral “ Hasiah ” (Border) The floral border is originally adaption from Persian Miniature The artist was sent to Persia by Jahangir to paint the portrait of Shah from where he perfected the idea of border Jahangir is an handsome youth Aquiline nose, pointed chin, thin sensuous mouth Golden and black stripes of Calligraphy in vertical and horizontal order The script is written in Persian Nastaliq script The colour script is soft and less enamel like and melt harmoniously Faint suggestion of halo behind his head

7. FALCON ON A BIRD-REST ARTIST: USTAD MANSOOR WATER COLOUR AND TEMPERA ON HAND MADE PAPER JAHANGIR SCHOOL Best specimen of bird from Jahangir’s atelier Image from the album from Jahangir- nama The tamed falcon is sitting on the bird rest The painting is done in great realistic manner The back-ground is done in yellow The bird is done in white Brownish black of folded wings The falcon is centrally composed Black marking all over the wings Expression of cruelty in the eye Sharp beak and vigilant eye painted in yellow ochre Light blue feather on the neck Thin string hang loosely from the neck to ground ‘Jahangir Paat-spah ’, ‘ bahari ’, & ‘ Uttam ’ written in Devnagari

8. KABIR AND RAIDAS ARTIST: USTAD FAQUIRULLAH KHAN WATERCOLOUR AND TEMPERA ON HANDMADE PAPER SHAHJAHAN SCHOOL Saint K abir sitting beside his hut weaving on his loom Saint Raidas sitting close to him on a mat Both are in deep discussion in some subject The painting shows the simple life of Indian villages and work and worship goes side by side Depiction of rural Indian village shades of brown is mostly used Border done in brown and blue Refined perspective has been used in the painting Light and shades expertly used to indicate the ribs of Kabir Painted by Faquirullah probably on request of Dara Shikoh

9. MARRIAGE PROCESSION OF DARA SHIKOH ARTIST: HAJI MADNI WATER COLOUR AND TEMPERA ON HANDMADE PAPER PROVINCIAL MUGHAL SCHOOL (AVADH) Large painting depicting marriage procession of Dara Shiloh ‘Barat’ received by large gathering of men, women, young boys Light of fire work, candles and torch illuminates the whole scene The crowd is clapping and singing Distinguished members on horse back Emperor Shahjahan is present on horse with halo behind his head Dara Sikoh is leading the procession He is wearing brocaded angrakha and veil of pearl Bride’s relatives are dressed in brilliant clothes Most of the figures are in profile only a few are in three quarter position The women accompanying the Barat are on elephant on distance In the front a boy is shown dancing with drum beat

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