Mughal painting

by Aayushi Shrimali And Akanksha Manna (University of Delhi) (kalindi college)History Hons /3rd year
origin
background
jahangir
shahjahan
later mughal school ,prominent painters and influences

1. MUGHAL PAINTINGS Aayushi Shrimali (18518011) Akanksha Manna(18518012) BA( Hons )History/3 rd Year

2. Origin of mughal paintings Mughal painting is a particular style of South Asian, particularly North Indian. It emerged from Persian miniature painting . Mughal court painting, drew little from indigenous non-Muslim traditions of painting. 1. Emperor  Jahangir visiting the ascetic Jadrup , c.  1616–20,Govardhan 2.Shah Jahan accepts a falcon from Dara Shikoh 3.Nurjahan

3. background The Mughal era used expensive colours obtained from minerals and metals. 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 common subjects include portraits, events and scenes from court life, wild life and hunting scenes, and illustrations of battles.  Babur, the first mughal ruler , could not contribute towards painting culture. 5.17th-century portrait of Babur 6.Nilgai by  Ustad Mansur 4.Babur and his retinue visiting Gor Khatri .

4. background When the second Mughal emperor,  Humayun (1530–1540 and 1555–1556) was in exile in Tabriz, he was exposed to Persian miniature painting.   Humanyun brought two accomplished Persian artists  Abd al- Samad  and Mir Sayyid Ali to India with him. Humayun's period famous painting is titled”princes of the house of timur ”. His major known commission was “ khamsa of Nizami ”. 7.Princes of the House of Timur Under Akbar’s (1556–1605) European painitng was introduced at the court by the portuguese priests. Paintings were organized as an Imperial establishment or karkhana or tasvir khana . Themes-Daily court events ,portraits. Mughal school of painting was established. Narrative paiting were made such as Hazmnama,Tutinama,Razmnama,Baburnama,Tarikh-i-Alfi,hindu epics,and Darab Nama . 9.Akbar receiving abdul rahim 8.Akbar portrait

5. Paintings under jahangir (1605-1627) During Jahangir,the persian and Indian style of painting were fully systhesised .  Manuscripts became less important than individual pictures. Brush work became lighter and finer. Main themes were hunting scenes,birds and flowers,and portraiture. 10.Red blossom,by Mansur 11.Jahangir with falcon 12.A Zebra, by Mansur

6. Jahangir was also deeply influenced by European Painting. The Jahangirnama written during his lifetime,which is an autiobiographical account of Jahangir’s reign,has several painting. Jahangir maintained his own studio,and took every artistic decision. 14.Emperor Jahangir weighs Prince  by  Manohar Das 13.Celebrations painting from Jahangirnama 15. 17th century painting, by Abu’l Hasan ,

7. Two important elements in the style of Mughal painting during the Jahangir’s reign: F ormalist style that is realistic painting B road margins Abul-Hasan,was recognised for his talent and titled “ Nadiru’l Zaman ”-wonder of age 17.Emperor Jahangir holding a portrait of Emperor Akbar 16.Aurangzeb during the siege of golconda 1687 18.Jahangir and Prince Khurram feasted by Nur Jahan

8. Paintings under shahjahan (1628-1659) During the reign of Shah Jahan ,court paintings became more rigid and formal. Jahangir’s style was replaced by the decorative style of Shahjahan . Special attention was given to the art of border making ,and lavish golden colour was used. Under him, the previous tradition of doing portraits preparing albums, and illustrating books, was continued. 19. Portrait of Shahjahan 20.miniature painting from the  Badshahnama 21.Shahjahan on horseback

9. The illustrations from the " Padshahnama " (chronicle of the King of the world), by Abd -al- Hamid Lahori is one of the finest Islamic manuscripts from the Royal Collection, at Windsor, were painted during the reign of Shah Jahan . Themes included musical parties; lovers; and ascetics gathered around a fire.Another important theme chosen for painting was super imposition of animals and the scenes of performing acrobats . 24.Shah Jahan , accompanied by his three sons:  Dara Shikoh , Shah Shuja  and Aurangzeb, and their maternal grandfather  Asaf Khan IV 23.Shah Jahan at his Durbar, from the Windsor Padshahnama 22.Shah Jahan and  Mumtaz Mahal

10. Aurangzeb (1658–1707) was never an enthusiastic patron of painting. Aurangzeb’s lack of interest in painting led to a dispersal of the artist to different places of the country. There was a brief revival during the reign of Muhammad Shah ' Rangeela ' (1719–48), but by the time of Shah Alam II (1759–1806), the art of Mughal painting had lost its glory. Other schools of Indian painting had developed, including, in the royal courts of the Rajput kingdoms of  Rajputana ,  Rajput painting and in the cities ruled by the British East India Company, the Company style under Western influence. Later mughal paintings 26.The Emperor Aurangzeb Carried on a Palanquin 27.The emperor ' Alamgir (Aurangzeb)

11. Influence on mughal painting

12. Some prominent painters of mughal period Farrukh Beg (c. 1545– c. 1615), another Persian import, in India from 1585–1590, perhaps then in  Bijapur , returning north from around 1605 to his death. Daswanth , a Hindu, d. 1584, who worked especially on Akbar's  Razmnama , the Mahabharata in Persian Basawan  a Hindu active c. 1580–1600, whose son  Manohar Das was active c. 1582–1624 Govardhan , active c. 1596 to 1640, another Hindu, especially good at portraits. His father Bhavani Das, had been a minor painter in the imperial workshop. Mansur (flourished 1590–1624) a specialist in animals and plants al- Hasan  (1589 – c. 1630), perhaps the son of Reza Abbasi , the leading Persian painter of his generation. Bishandas , a Hindu specialist in portraits Mushfiq  an early example of an artist who seems never to have worked in the imperial atelier, but for other clients.

13. CONCLUSION The Mughal paintings had three important aspects: Firstly, they depicted self-consciousness of human beings Secondly, they reflected technical refinement Thirdly, they were fundamentally secular in nature based on physical observation and psychological insight. Thus, the Mughal Style of Painting clearly reflects growth of new culture traditions based on changing lifestyles of people and ruling classes. Mughal paintings became the symbol of new Mughal royalty, grandeur and their political power as well as their authority. They also reflected Mughal cultural values where attempts were made to create standards of high culture through diffusion of different styles of painting.

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