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Mughal painting

Mughal painting is a style of painting on paper confined to miniatures either as book illustrations or as single works to be kept in albums (muraqqa), from the territory of the Mughal Empire in South Asia. 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. Battles, legendary stories, hunting scenes, wildlife, royal life, mythology, as well as other subjects have all been frequently depicted in paintings.[1]

Govardhan, Emperor Jahangir visiting the ascetic Jadrup, c. 1616–20

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.[2]

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. These are often described as "post-Mughal", "sub-Mughal" or "provincial Mughal". The mingling of foreign Persian and indigenous Indian elements was a continuation of the patronage of other aspects of foreign culture as initiated by the earlier Turko-Afghan Delhi Sultanate, and the introduction of it into the subcontinent by various Central Asian Turkish dynasties, such as the Ghaznavids.

Subjects

Portraits

 
Abu'l Hasan, Emperor Jahangir at the Jharoka window of the Agra Fort, c. 1620, Aga Khan Museum

From fairly early the Mughal style made a strong feature of realistic portraiture, normally in profile, and influenced by Western prints, which were available at the Mughal court. This had never been a feature of either Persian miniature or earlier Indian painting. The pose, rarely varied in portraits, was to have the head in strict profile, but the rest of the body half turned towards the viewer. For a long time portraits were always of men, often accompanied by generalized female servants or concubines; but there is scholarly debate about the representation of female court members in portraiture. Some scholars claim there are no known extant likenesses of figures like Jahanara Begum and Mumtaz Mahal, and others attribute miniatures, for example from the Dara Shikoh album or the Freer Gallery of Art mirror portrait, to these famous noblewomen.[3][4][5] The single idealized figure of the Riza Abbasi type was less popular, but fully painted scenes of lovers in a palace setting became popular later. Drawings of genre scenes, especially showing holy men, whether Muslim or Hindu, were also popular.

Akbar had an album, now dispersed, consisting entirely of portraits of figures at his enormous court which had a practical purpose; according to chroniclers he used to consult it when discussing appointments and the like with his advisors, apparently to jog his memory of who the people being discussed were. Many of them, like medieval European images of saints, carried objects associated with them to help identification, but otherwise the figures stand on a plain background.[6] There are a number of fine portraits of Akbar, but it was under his successors Jahangir and Shah Jahan that the portrait of the ruler became firmly established as a leading subject in Indian miniature painting, which was to spread to both Muslim and Hindu princely courts across India.[7]

From the 17th century equestrian portraits, mostly of rulers, became another popular borrowing from the West.[8] Another new type of image showed the Jharokha Darshan (literally "balcony view/worship"), or public display of the emperor to the court, or the public, which became a daily ceremonial under Akbar, Jahangir and Shah Jahan, before being stopped as un-Islamic by Aurangzeb. In these scenes, the emperor is shown at top on a balcony or at a window, with a crowd of courtiers below, sometimes including many portraits. Like the increasingly large halos these emperors were given in single portraits, the iconography reflects the aspiration of the later Mughals to project an image as the representative of Allah on earth, or even as having a quasi-divine status themselves.[9][10] Other images show the enthroned emperor having meetings, receiving visitors, or in durbar, or formal council. These and royal portraits incorporated in hunting scenes became highly popular types in later Rajput painting and other post-Mughal styles.


 
Nilgai by Ustad Mansur (fl. 1590–1624), who specialized in birds and animal studies for albums.

Another popular subject area was realistic studies of animals and plants, mostly flowers; the text of the Baburnama includes a number of descriptions of such subjects, which were illustrated in the copies made for Akbar. These subjects also had specialist artists, including Ustad Mansur. Milo C. Beach argues that "Mughal naturalism has been greatly overstressed. Early animal imagery consists of variations on a theme, rather than new, innovative observations". He sees considerable borrowings from Chinese animal paintings on paper, which seem not to have been highly valued by Chinese collectors, and so reached India.[11]

Illustrated books

In the formative period of the style, under Akbar, the imperial workshop produced a number of heavily illustrated copies of established books in Persian. One of the first, probably from the 1550s and now mostly in the Cleveland Museum of Art, was a Tutinama with some 250 rather simple and rather small miniatures, most with only a few figures. In contrast the Hamzanama Akbar commissioned had unusually large pages, of densely woven cotton rather than the usual paper, and the images were very often crowded with figures. The work was "a continuous series of romantic interludes, threatening events, narrow escapes, and violent acts", supposedly telling the life of an uncle of Muhammad.[12] Akbar's manuscript had a remarkable total of some 1400 miniatures, one on every opening, with the relevant text written on the back of the page, presumably to be read to the emperor as he looked at each image. This colossal project took most of the 1560s, and probably beyond. These and a few other early works saw a fairly unified Mughal workshop style emerge by around 1580.

Other large projects included biographies or memoirs of the Mughal dynasty. Babur, its founder, had written classic memoirs, which his grandson Akbar had translated into Persian, as the Baburnama (1589), and then produced in four lavishly illustrated copies, with up to 183 miniatures each. The Akbarnama was Akbar's own commissioned biography or chronicle, produced in many versions, and the tradition continued with Jahangir's autobiography Tuzk-e-Jahangiri (or Jahangirnama) and a celebratory biography of Shah Jahan, called the Padshahnama, which brought the era of the large illustrated imperial biography to an end, around 1650. Akbar commissioned a copy of the Zafarnama, a biography of his distant ancestor Timur, but though he had his aunt write a biography of his father Humayun, no illustrated manuscript survives.

Volumes of the classics of Persian poetry usually had rather fewer miniatures, often around twenty, but often these were of the highest quality. Akbar also had the Hindu epic poems translated into Persian, and produced in illustrated versions. Four are known of the Razmnama, a Mahabharata in Persian, from between 1585 and c. 1617. Akbar had at least one copy of the Persian version of the Ramayana.

Origins

 
Babur Receives a Courtier by Farrukh Beg c. 1580–85. Opaque watercolor and gold on paper, painted and mounted within borders, from a Rawżat aṣ-ṣafāʾ. Still using the style of Persian miniature.

Mughal court painting, as opposed to looser variants of the Mughal style produced in regional courts and cities, drew little from indigenous non-Muslim traditions of painting. These were Hindu and Jain, and earlier Buddhist, and almost entirely religious. They existed mainly in relatively small illustrations to texts, but also mural paintings, and paintings in folk styles on cloth, in particular ones on scrolls made to be displayed by popular singers or reciters of the Hindu epics and other stories, performed by travelling specialists; very few early examples of these last survive. A vivid Kashmiri tradition of mural paintings flourished between the 9th and 17th centuries, as seen in the murals of Alchi Monastery or Tsaparang: a number of Kashimiri painters were employed by Akbar and some influence of their art can be seen in various Mughal works, such as the Hamzanama.[13]

In contrast Mughal painting was "almost entirely secular",[14] although religious figures were sometimes portrayed. Realism, especially in portraits of both people and animals, became a key aim, far more than in Persian painting, let alone the Indian traditions.[15] There was already a Muslim tradition of miniature painting under the Turko-Afghan Sultanate of Delhi which the Mughals overthrew, and like the Mughals, and the very earliest of Central Asian invaders into the subcontinent, patronized foreign culture. These paintings were painted on loose-leaf paper, and were usually placed between decorated wooden covers.[16] Although the first surviving manuscripts are from Mandu in the years either side of 1500, there were very likely earlier ones which are either lost, or perhaps now attributed to southern Persia, as later manuscripts can be hard to distinguish from these by style alone, and some remain the subject of debate among specialists.[17] By the time of the Mughal invasion, the tradition had abandoned the high viewpoint typical of the Persian style, and adopted a more realistic style for animals and plants.[18]

No miniatures survive from the reign of the founder of the dynasty, Babur, nor does he mention commissioning any in his memoirs, the Baburnama.[19] Copies of this were illustrated by his descendents, Akbar in particular, with many portraits of the many new animals Babur encountered when he invaded India, which are carefully described.[20] However some surviving un-illustrated manuscripts may have been commissioned by him, and he comments on the style of some famous past Persian masters. Some older illustrated manuscripts have his seal on them; the Mughals came from a long line stretching back to Timur and were fully assimilated into Persianate culture, and expected to patronize literature and the arts.

The style of the Mughal school developed within the royal atelier. Knowledge was primarily transmitted through familial and apprenticeship relationships, and the system of joint manuscript production which brought multiple artists together for single works.[21] In some cases, senior artists would draw the illustrations in outline, and more junior ones would usually apply the colours, especially for background areas.[22] Where no artist names are inscribed, it is very difficult to trace Imperial Mughal paintings back to specific artists.[23]

Development

 
Princes of the House of Timur, attributed to the Persian Abd as-Samad, c. 1550–1555, with additions in the next century under Jahangir.[24]

After a tentative start under Humayun, the great period of Mughal painting was during the next three reigns, of Akbar, Jahangir and Shah Jahan, which covered just over a century between them.

Humayun (1530–1540 and 1555–1556)

 
Emperor Jahangir weighs Prince Khurram by Manohar Das, 1610–15, from Jahangir's own copy of the Tuzk-e-Jahangiri. The names of the main figures are noted on their clothes, and the artist shown at bottom. British Museum

When the second Mughal emperor, Humayun was in exile in Tabriz in the Safavid court of Shah Tahmasp I of Persia, he was exposed to Persian miniature painting, and commissioned at least one work there (or in Kabul), an unusually large painting on cloth of Princes of the House of Timur, now in the British Museum. Originally a group portrait with his sons, in the next century Jahangir had it added to make it a dynastic group including dead ancestors.[25] When Humayun returned to India, he brought two accomplished Persian artists Abd al-Samad and Mir Sayyid Ali with him. His usurping brother Kamran Mirza had maintained a workshop in Kabul, which Humayan perhaps took over into his own. Humayan's major known commission was a Khamsa of Nizami with 36 illuminated pages, in which the different styles of the various artists are mostly still apparent.[26] Apart from the London painting, he also commissioned at least two miniatures showing himself with family members,[27] a type of subject that was rare in Persia but common among the Mughals.[28]

Akbar (r. 1556–1605)

During the reign of Humayun's son Akbar (r. 1556–1605), the imperial court, apart from being the centre of administrative authority to manage and rule the vast Mughal empire, also emerged as a centre of cultural excellence. Akbar inherited and expanded his father's library and atelier of court painters, and paid close personal attention to its output. He had studied painting in his youth under Abd as-Samad, though it is not clear how far these studies went.[29]

Between 1560 and 1566 the Tutinama ("Tales of a Parrot"), now in the Cleveland Museum of Art was illustrated, showing "the stylistic components of the imperial Mughal style at a formative stage".[30] Among other manuscripts, between 1562 and 1577 the atelier worked on an illustrated manuscript of the Hamzanama consisting of 1,400 cotton folios, unusually large at 69 cm x 54 cm (approx. 27 x 20 inches) in size. This huge project "served as a means of moulding the disparate styles of his artists, from Iran and from different parts of India, into one unified style". By the end, the style reached maturity, and "the flat and decorative compositions of Persian painting have been transformed by creating a believable space in which characters painted in the round can perform".[31]

Sa'di's masterpiece The Gulistan was produced at Fatehpur Sikri in 1582, a Darab Nama around 1585; the Khamsa of Nizami (British Library, Or. 12208) followed in the 1590s and Jami's Baharistan around 1595 in Lahore. As Mughal-derived painting spread to Hindu courts the texts illustrated included the Hindu epics including the Ramayana and the Mahabharata; themes with animal fables; individual portraits; and paintings on scores of different themes. Mughal style during this period continued to refine itself with elements of realism and naturalism coming to the fore. Between 1570–1585, Akbar hired over one hundred painters to practice Mughal style painting.[32]

Akbar's rule established a celebratory theme among the Mughal Empire. In this new period, Akbar persuaded artist to focus on showing off spectacles and including grand symbols like elephants in their work to create the sense of a prospering empire. Along with this new mindset, Akbar also encouraged his people to write down and find a way to record what they remembered from earlier times to ensure that others would be able to remember the greatness of the Mughal empire. [33][34]

Jahangir (1605–1625)

Jahangir had an artistic inclination and during his reign Mughal painting developed further. Brushwork became finer and the colours lighter. Jahangir was also deeply influenced by European painting. During his reign he came into direct contact with the English Crown and was sent gifts of oil paintings, which included portraits of the King and Queen. He encouraged his royal atelier to take up the single point perspective favoured by European artists, unlike the flattened multi-layered style used in traditional miniatures. He particularly encouraged paintings depicting events of his own life, individual portraits, and studies of birds, flowers and animals. The Tuzk-e-Jahangiri (or Jahangirnama), written during his lifetime, which is an autobiographical account of Jahangir's reign, has several paintings, including some unusual subjects such as the union of a saint with a tigress, and fights between spiders.[citation needed] Mughal paintings made during Jahangir's reign continued the trend of Naturalism and were influenced by the resurgence of Persian styles and subjects over more traditional Hindu.[35]

Shah Jahan (1628–1659)

During the reign of Shah Jahan (1628–58), Mughal paintings continued to develop, but court paintings became more rigid and formal. The illustrations from the "Padshanama" (chronicle of the King of the world), one of the finest Islamic manuscripts from the Royal Collection, at Windsor, were painted during the reign of Shah Jahan. Written in Persian on paper that is flecked with gold, has exquisitely rendered paintings. The "Padshahnama" has portraits of the courtiers and servants of the King painted with great detail and individuality. In keeping with the strict formality at court, however the portraits of the King and important nobles was rendered in strict profile, whereas servants and common people, depicted with individual features have been portrayed in the three-quarter view or the frontal view.

Themes including musical parties; lovers, sometimes in intimate positions, on terraces and gardens; and ascetics gathered around a fire, abound in the Mughal paintings of this period.[36][citation needed] Even though this period was titled the most prosperous, artists during this time were expected to adhere to representing life in court as organized and unified. For this reason, most art created under his rule focused mainly on the emperor and aided in establishing his authority. The purpose of this art was to leave behind an image of what the Mughal's believed to be the ideal ruler and state.[37]

Later paintings

 
A durbar scene with the newly crowned Emperor Aurangzeb in his golden throne. Though he did not encourage Mughal painting, some of the best work was done during his reign.

Aurangzeb (1658–1707) was never an enthusiastic patron of painting, largely for religious reasons , and took a turn away from the pomp and ceremonial of the court around 1668, after which he probably commissioned no more paintings. After 1681 he moved to the Deccan to pursue his slow conquest of the Deccan Sultanates, never returning to live in the north.[38]

Mughal paintings continued to survive, but the decline had set in. Some sources however note that a few of the best Mughal paintings were made for Aurangzeb, speculating that they believed that he was about to close the workshops and thus exceeded themselves in his behalf.[39] 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. By that time, 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. Late Mughal style often shows increased use of perspective and recession under Western influence.

Many museums have collections, with that of the Victoria and Albert Museum in London especially large.[40]

Artists

 
The scribe and painter of a Khamsa of Nizami manuscript in the British Library, made for Akbar, 1610

The Persian master artists Abd al-Samad and Mir Sayyid Ali, who had accompanied Humayun to India in the 16th century, were in charge of the imperial atelier during the formative stages of Mughal painting. Many artists worked on large commissions, the majority of them apparently Hindu, to judge by the names recorded. Mughal painting generally involved a group of artists, one (generally the most senior) to decide and outline the composition, the second to actually paint, and perhaps a third who specialized in portraiture, executing individual faces.[41]

This was especially the case with the large historical book projects that dominated production during Akbar's reign, the Tutinama, Baburnama, Hamzanama, Razmnama, and Akbarnama. For manuscripts of Persian poetry there was a different way of working, with the best masters apparently expected to produce exquisitely finished miniatures all or largely their own work.[42] An influence on the evolution of style during Akbar's reign was Kesu Das, who understood and developed "European techniques of rendering space and volume".[43]

Conveniently for modern scholars, Akbar liked to see the names of the artists written below each miniature. Analysis of manuscripts shows that individual miniatures were assigned to many painters. For example, the incomplete Razmnama in the British Library contains 24 miniatures, with 21 different names, though this may be an especially large number.[44]

Other important painters under Akbar and Jahangir were:[45]

  • 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,[37] had been a painter in the imperial workshop.
  • Ustad Mansur (flourished 1590–1624) a specialist in animals and plants
  • Abu al-Hasan (1589 – c. 1630)
  • Bichitr
  • 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.
  • Miskin

Others: Nanha, Daulat, Payag, Abd al-Rahim, Amal-e Hashim, Keshavdas, and Mah Muhammad.

The sub-imperial school of Mughal painting included artists such as Mushfiq, Kamal, and Fazl. During the first half of the 18th century, many Mughal-trained artists left the imperial workshop to work at Rajput courts. These include artists such as Bhawanidas and his son Dalchand.

Mughal style today

Mughal-style miniature paintings are still being created today by a small number of artists in Lahore concentrated mainly in the National College of Arts. Although many of these miniatures are skillful copies of the originals, some artists have produced contemporary works using classic methods with, at times, remarkable artistic effect.

The skills needed to produce these modern versions of Mughal miniatures are still passed on from generation to generation, although many artisans also employ dozens of workers, often painting under trying working conditions, to produce works sold under the signature of their modern masters.

Gallery

See also

Notes

  1. ^ Ali, Azmat; Sahni, Janmejay; Sharma, Mohit; Sharma, Prajjwal; Goel, Dr Priya (2019-11-12). IAS Mains Paper 1 Indian Heritage & Culture History & Geography of the world & Society 2020. Arihant Publications India limited. ISBN 978-93-241-9210-3.
  2. ^ "BBC - Religions - Islam: Mughal Empire (1500s, 1600s)". www.bbc.co.uk. Retrieved 2019-01-01.
  3. ^ Crill and Jariwala, 23-30
  4. ^ Losty, J.P.; Roy, Malini (2012). Mughal India: Art, Culture and Empire Manuscripts and Paintings in the British Library. London: The British Library. pp. 132–133. ISBN 9780712358705.
  5. ^ Abid. Reign of Shah Jahan, portrait by Abid dated 1628; assembled late 17th century. Mirror Case With Portrait of Mumtaz Mahal. Freer Gallery of Art. F2005.4 [1]
  6. ^ Crill and Jariwala, 66
  7. ^ Crill and Jariwala, 27–39, and catalogue entries
  8. ^ Crill and Jariwala, 68
  9. ^ Hansen, Waldemar, The Peacock Throne: The Drama of Mogul India, 102, 1986, Motilal Banarsidass ISBN 978-81-208-0225-4
  10. ^ Kaur, Manpreet (February 2015). "Romancing The Jharokha: From Being A Source Of Ventilation And Light To The Divine Conception" (PDF). International Journal of Informative & Futuristic Research.
  11. ^ Beach, 32–37, 37 quoted
  12. ^ Beach, 61
  13. ^ Chaitanya, Krishna (1976). A History of Indian Painting. Abhinav Publications. pp. 6–7.
  14. ^ Harle, 372
  15. ^ Harle, 372
  16. ^ Seyller, John (1999). "Workshop and Patron in Mughal India: The Freer Rāmāyaṇa and Other Illustrated Manuscripts of 'Abd al-Raḥīm". Artibus Asiae. Supplementum. 42: 3–344. ISSN 1423-0526. JSTOR 1522711.
  17. ^ Titley, 161–166
  18. ^ Titley, 161
  19. ^ Losty, 12
  20. ^ Titley, 187
  21. ^ Sarafan, Greg (6 November 2011). "Artistic Stylistic Transmission in the Royal Mughal Atelier". Sensible Reason.
  22. ^ Seyller, John (1999). "Workshop and Patron in Mughal India: The Freer Rāmāyaṇa and Other Illustrated Manuscripts of 'Abd al-Raḥīm". Artibus Asiae. Supplementum. 42: 3–344. ISSN 1423-0526. JSTOR 1522711.
  23. ^ Seyller, John (1999). "Workshop and Patron in Mughal India: The Freer Rāmāyaṇa and Other Illustrated Manuscripts of 'Abd al-Raḥīm". Artibus Asiae. Supplementum. 42: 3–344. ISSN 1423-0526. JSTOR 1522711.
  24. ^ Crill and Jariwala, 50
  25. ^ Crill and Jariwala, 50
  26. ^ Grove
  27. ^ Grove
  28. ^ Beach, 58
  29. ^ Beach, 49
  30. ^ Grove
  31. ^ Losty, 15
  32. ^ Eastman
  33. ^ Ebba Koch, Visual Strategies of Imperial Self-Representation:The Windsor Pādshāhnāma Revisited
  34. ^ Koch, Ebba. "Visual Strategies of Imperial Self-Representation:The Windsor Pādshāhnāma Revisited". Art Bulletin.
  35. ^ Seyller, John (1999). "Workshop and Patron in Mughal India: The Freer Rāmāyaṇa and Other Illustrated Manuscripts of 'Abd al-Raḥīm". Artibus Asiae. Supplementum. 42: 3–344. ISSN 1423-0526. JSTOR 1522711.
  36. ^ Britannica
  37. ^ a b Singh, Kavita (13 June 2021). "In a resplendent portrait of a Mughal emperor, subtle clues about a dark fall". Scroll.in. Retrieved 2021-06-13.{{cite web}}: CS1 maint: url-status (link)
  38. ^ Losty, 147, 149
  39. ^ Commentary by Stuart Cary Welch
  40. ^ "V&A · About us". Victoria and Albert Museum. Retrieved 2022-02-17.
  41. ^ Losty, 31; Crill and Jariwala, 27; Britannica
  42. ^ Losty, 31
  43. ^ Bloom, Jonathan M.; Blair, Sheila S. (2009). The Grove Encyclopedia of Islamic Art and Architecture. Vol. 1. Oxford University Press. p. 380. ISBN 978-0-19-530991-1.
  44. ^ "Razmnamah: the Persian Mahabharata", British Library Asian and African studies blog, by Ursula Sims-Williams, April 2016 - see table near bottom
  45. ^ Diamind, Maurice. "Mughal Painting Under Akbar the Great" Metropolitan Museum of Art
  46. ^ Basawan & Chitra (1590–1595). "The Submission of the rebel brothers Ali Quli and Bahadur Khan-Akbarnama". Akbarnama.
  47. ^ "Alexander is Lowered into the Sea". www.metmuseum.org. Retrieved 2018-12-14.
  48. ^ Smart, Ellen (1999). "The Death of Ināyat Khān by the Mughal Artist Bālchand". Artibus Asiae. Supplementum. 58: 273–279. ISSN 1423-0526. JSTOR 3250020.
  49. ^ "Box with Scenes of an Emperor Receiving Gifts, early to mid-17th century". www.metmuseum.org. Retrieved 2018-12-17.

References

  • Beach, Milo Cleveland, Early Mughal painting, Harvard University Press, 1987, ISBN 0-674-22185-0, ISBN 978-0-674-22185-7, google books
  • Crill, Rosemary, and Jariwala, Kapil. The Indian Portrait, 1560–1860, National Portrait Gallery, London, 2010, ISBN 9781855144095
  • Eastman, Alvan C. "Mughal painting." College Art Association . 3.2 (1993): 36. Web. 30 Sep. 2013.
  • "Grove", Oxford Art Online, "Indian sub., §VI, 4(i): Mughal ptg styles, 16th–19th centuries", restricted access.
  • Harle, J.C., The Art and Architecture of the Indian Subcontinent, 2nd edn. 1994, Yale University Press Pelican History of Art, ISBN 0300062176
  • Kossak, Steven. (1997). Indian court painting, 16th-19th century. Metropolitan Museum of Art. ISBN 0870997831
  • Losty, J. P. Roy, Malini (eds), Mughal India: Art, Culture and Empire, 2013, British Library, ISBN 0712358706, 9780712358705
  • "Mughal Painting." Encyclopædia Britannica. Encyclopædia Britannica Academic Online Edition. Encyclopædia Britannica Inc., 2013.Web. 30 Sep 2013.
  • Titley, Norah M., Persian Miniature Painting, and its Influence on the Art of Turkey and India, 1983, University of Texas Press, 0292764847
  • Sarafan, Greg, "Artistic Stylistic Transmission in the Royal Mughal Atelier", Sensible Reason, LLC, 2007, SensibleReason.com

Further reading

  • Painting for the Mughal Emperor (The Art of the Book 1560-1660) by Susan Stronge (ISBN 0-8109-6596-8)
  • Fiction in Mughal Miniature Painting by Prof. P. C. Jain and Dr. Daljeet
  • Painting the Mughal Experience by Som Prakash Verma, 2005 (ISBN 0-19-566756-5)
  • Chitra, Die Tradition der Miniaturmalerei in Rajasthan by K.D. Christof & Renate Haass, 1999 (ISBN 978-3-89754-231-0)
  • Welch, Stuart Cary; et al. (1987). The Emperors' album: images of Mughal India. New York: The Metropolitan Museum of Art. ISBN 978-0870994999.
  • Welch, Stuart Cary (1985). India: art and culture, 1300-1900. New York: The Metropolitan Museum of Art. ISBN 9780944142134.
  • Artistic Stylistic Transmission in the Royal Mughal Atelier by Greg Sarafan, Esq., 2007

External links

mughal, painting, style, painting, paper, confined, miniatures, either, book, illustrations, single, works, kept, albums, muraqqa, from, territory, mughal, empire, south, asia, emerged, from, persian, miniature, painting, itself, partly, chinese, origin, devel. Mughal painting is a style of painting on paper confined to miniatures either as book illustrations or as single works to be kept in albums muraqqa from the territory of the Mughal Empire in South Asia 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 Battles legendary stories hunting scenes wildlife royal life mythology as well as other subjects have all been frequently depicted in paintings 1 Govardhan Emperor Jahangir visiting the ascetic Jadrup c 1616 20 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 2 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 These are often described as post Mughal sub Mughal or provincial Mughal The mingling of foreign Persian and indigenous Indian elements was a continuation of the patronage of other aspects of foreign culture as initiated by the earlier Turko Afghan Delhi Sultanate and the introduction of it into the subcontinent by various Central Asian Turkish dynasties such as the Ghaznavids Contents 1 Subjects 1 1 Portraits 1 2 Illustrated books 2 Origins 3 Development 3 1 Humayun 1530 1540 and 1555 1556 3 2 Akbar r 1556 1605 3 3 Jahangir 1605 1625 3 4 Shah Jahan 1628 1659 4 Later paintings 5 Artists 6 Mughal style today 7 Gallery 8 See also 9 Notes 10 References 11 Further reading 12 External linksSubjects EditPortraits Edit Abu l Hasan Emperor Jahangir at the Jharoka window of the Agra Fort c 1620 Aga Khan Museum From fairly early the Mughal style made a strong feature of realistic portraiture normally in profile and influenced by Western prints which were available at the Mughal court This had never been a feature of either Persian miniature or earlier Indian painting The pose rarely varied in portraits was to have the head in strict profile but the rest of the body half turned towards the viewer For a long time portraits were always of men often accompanied by generalized female servants or concubines but there is scholarly debate about the representation of female court members in portraiture Some scholars claim there are no known extant likenesses of figures like Jahanara Begum and Mumtaz Mahal and others attribute miniatures for example from the Dara Shikoh album or the Freer Gallery of Art mirror portrait to these famous noblewomen 3 4 5 The single idealized figure of the Riza Abbasi type was less popular but fully painted scenes of lovers in a palace setting became popular later Drawings of genre scenes especially showing holy men whether Muslim or Hindu were also popular Akbar had an album now dispersed consisting entirely of portraits of figures at his enormous court which had a practical purpose according to chroniclers he used to consult it when discussing appointments and the like with his advisors apparently to jog his memory of who the people being discussed were Many of them like medieval European images of saints carried objects associated with them to help identification but otherwise the figures stand on a plain background 6 There are a number of fine portraits of Akbar but it was under his successors Jahangir and Shah Jahan that the portrait of the ruler became firmly established as a leading subject in Indian miniature painting which was to spread to both Muslim and Hindu princely courts across India 7 From the 17th century equestrian portraits mostly of rulers became another popular borrowing from the West 8 Another new type of image showed the Jharokha Darshan literally balcony view worship or public display of the emperor to the court or the public which became a daily ceremonial under Akbar Jahangir and Shah Jahan before being stopped as un Islamic by Aurangzeb In these scenes the emperor is shown at top on a balcony or at a window with a crowd of courtiers below sometimes including many portraits Like the increasingly large halos these emperors were given in single portraits the iconography reflects the aspiration of the later Mughals to project an image as the representative of Allah on earth or even as having a quasi divine status themselves 9 10 Other images show the enthroned emperor having meetings receiving visitors or in durbar or formal council These and royal portraits incorporated in hunting scenes became highly popular types in later Rajput painting and other post Mughal styles Nilgai by Ustad Mansur fl 1590 1624 who specialized in birds and animal studies for albums Another popular subject area was realistic studies of animals and plants mostly flowers the text of the Baburnama includes a number of descriptions of such subjects which were illustrated in the copies made for Akbar These subjects also had specialist artists including Ustad Mansur Milo C Beach argues that Mughal naturalism has been greatly overstressed Early animal imagery consists of variations on a theme rather than new innovative observations He sees considerable borrowings from Chinese animal paintings on paper which seem not to have been highly valued by Chinese collectors and so reached India 11 Illustrated books Edit In the formative period of the style under Akbar the imperial workshop produced a number of heavily illustrated copies of established books in Persian One of the first probably from the 1550s and now mostly in the Cleveland Museum of Art was a Tutinama with some 250 rather simple and rather small miniatures most with only a few figures In contrast the Hamzanama Akbar commissioned had unusually large pages of densely woven cotton rather than the usual paper and the images were very often crowded with figures The work was a continuous series of romantic interludes threatening events narrow escapes and violent acts supposedly telling the life of an uncle of Muhammad 12 Akbar s manuscript had a remarkable total of some 1400 miniatures one on every opening with the relevant text written on the back of the page presumably to be read to the emperor as he looked at each image This colossal project took most of the 1560s and probably beyond These and a few other early works saw a fairly unified Mughal workshop style emerge by around 1580 Other large projects included biographies or memoirs of the Mughal dynasty Babur its founder had written classic memoirs which his grandson Akbar had translated into Persian as the Baburnama 1589 and then produced in four lavishly illustrated copies with up to 183 miniatures each The Akbarnama was Akbar s own commissioned biography or chronicle produced in many versions and the tradition continued with Jahangir s autobiography Tuzk e Jahangiri or Jahangirnama and a celebratory biography of Shah Jahan called the Padshahnama which brought the era of the large illustrated imperial biography to an end around 1650 Akbar commissioned a copy of the Zafarnama a biography of his distant ancestor Timur but though he had his aunt write a biography of his father Humayun no illustrated manuscript survives Volumes of the classics of Persian poetry usually had rather fewer miniatures often around twenty but often these were of the highest quality Akbar also had the Hindu epic poems translated into Persian and produced in illustrated versions Four are known of the Razmnama a Mahabharata in Persian from between 1585 and c 1617 Akbar had at least one copy of the Persian version of the Ramayana Origins Edit Babur Receives a Courtier by Farrukh Beg c 1580 85 Opaque watercolor and gold on paper painted and mounted within borders from a Rawzat aṣ ṣafaʾ Still using the style of Persian miniature Mughal court painting as opposed to looser variants of the Mughal style produced in regional courts and cities drew little from indigenous non Muslim traditions of painting These were Hindu and Jain and earlier Buddhist and almost entirely religious They existed mainly in relatively small illustrations to texts but also mural paintings and paintings in folk styles on cloth in particular ones on scrolls made to be displayed by popular singers or reciters of the Hindu epics and other stories performed by travelling specialists very few early examples of these last survive A vivid Kashmiri tradition of mural paintings flourished between the 9th and 17th centuries as seen in the murals of Alchi Monastery or Tsaparang a number of Kashimiri painters were employed by Akbar and some influence of their art can be seen in various Mughal works such as the Hamzanama 13 In contrast Mughal painting was almost entirely secular 14 although religious figures were sometimes portrayed Realism especially in portraits of both people and animals became a key aim far more than in Persian painting let alone the Indian traditions 15 There was already a Muslim tradition of miniature painting under the Turko Afghan Sultanate of Delhi which the Mughals overthrew and like the Mughals and the very earliest of Central Asian invaders into the subcontinent patronized foreign culture These paintings were painted on loose leaf paper and were usually placed between decorated wooden covers 16 Although the first surviving manuscripts are from Mandu in the years either side of 1500 there were very likely earlier ones which are either lost or perhaps now attributed to southern Persia as later manuscripts can be hard to distinguish from these by style alone and some remain the subject of debate among specialists 17 By the time of the Mughal invasion the tradition had abandoned the high viewpoint typical of the Persian style and adopted a more realistic style for animals and plants 18 No miniatures survive from the reign of the founder of the dynasty Babur nor does he mention commissioning any in his memoirs the Baburnama 19 Copies of this were illustrated by his descendents Akbar in particular with many portraits of the many new animals Babur encountered when he invaded India which are carefully described 20 However some surviving un illustrated manuscripts may have been commissioned by him and he comments on the style of some famous past Persian masters Some older illustrated manuscripts have his seal on them the Mughals came from a long line stretching back to Timur and were fully assimilated into Persianate culture and expected to patronize literature and the arts The style of the Mughal school developed within the royal atelier Knowledge was primarily transmitted through familial and apprenticeship relationships and the system of joint manuscript production which brought multiple artists together for single works 21 In some cases senior artists would draw the illustrations in outline and more junior ones would usually apply the colours especially for background areas 22 Where no artist names are inscribed it is very difficult to trace Imperial Mughal paintings back to specific artists 23 Development Edit Princes of the House of Timur attributed to the Persian Abd as Samad c 1550 1555 with additions in the next century under Jahangir 24 After a tentative start under Humayun the great period of Mughal painting was during the next three reigns of Akbar Jahangir and Shah Jahan which covered just over a century between them Humayun 1530 1540 and 1555 1556 Edit Emperor Jahangir weighs Prince Khurram by Manohar Das 1610 15 from Jahangir s own copy of the Tuzk e Jahangiri The names of the main figures are noted on their clothes and the artist shown at bottom British Museum When the second Mughal emperor Humayun was in exile in Tabriz in the Safavid court of Shah Tahmasp I of Persia he was exposed to Persian miniature painting and commissioned at least one work there or in Kabul an unusually large painting on cloth of Princes of the House of Timur now in the British Museum Originally a group portrait with his sons in the next century Jahangir had it added to make it a dynastic group including dead ancestors 25 When Humayun returned to India he brought two accomplished Persian artists Abd al Samad and Mir Sayyid Ali with him His usurping brother Kamran Mirza had maintained a workshop in Kabul which Humayan perhaps took over into his own Humayan s major known commission was a Khamsa of Nizami with 36 illuminated pages in which the different styles of the various artists are mostly still apparent 26 Apart from the London painting he also commissioned at least two miniatures showing himself with family members 27 a type of subject that was rare in Persia but common among the Mughals 28 Akbar r 1556 1605 Edit During the reign of Humayun s son Akbar r 1556 1605 the imperial court apart from being the centre of administrative authority to manage and rule the vast Mughal empire also emerged as a centre of cultural excellence Akbar inherited and expanded his father s library and atelier of court painters and paid close personal attention to its output He had studied painting in his youth under Abd as Samad though it is not clear how far these studies went 29 Between 1560 and 1566 the Tutinama Tales of a Parrot now in the Cleveland Museum of Art was illustrated showing the stylistic components of the imperial Mughal style at a formative stage 30 Among other manuscripts between 1562 and 1577 the atelier worked on an illustrated manuscript of the Hamzanama consisting of 1 400 cotton folios unusually large at 69 cm x 54 cm approx 27 x 20 inches in size This huge project served as a means of moulding the disparate styles of his artists from Iran and from different parts of India into one unified style By the end the style reached maturity and the flat and decorative compositions of Persian painting have been transformed by creating a believable space in which characters painted in the round can perform 31 Sa di s masterpiece The Gulistan was produced at Fatehpur Sikri in 1582 a Darab Nama around 1585 the Khamsa of Nizami British Library Or 12208 followed in the 1590s and Jami s Baharistan around 1595 in Lahore As Mughal derived painting spread to Hindu courts the texts illustrated included the Hindu epics including the Ramayana and the Mahabharata themes with animal fables individual portraits and paintings on scores of different themes Mughal style during this period continued to refine itself with elements of realism and naturalism coming to the fore Between 1570 1585 Akbar hired over one hundred painters to practice Mughal style painting 32 Akbar s rule established a celebratory theme among the Mughal Empire In this new period Akbar persuaded artist to focus on showing off spectacles and including grand symbols like elephants in their work to create the sense of a prospering empire Along with this new mindset Akbar also encouraged his people to write down and find a way to record what they remembered from earlier times to ensure that others would be able to remember the greatness of the Mughal empire 33 34 Jahangir 1605 1625 Edit Jahangir had an artistic inclination and during his reign Mughal painting developed further Brushwork became finer and the colours lighter Jahangir was also deeply influenced by European painting During his reign he came into direct contact with the English Crown and was sent gifts of oil paintings which included portraits of the King and Queen He encouraged his royal atelier to take up the single point perspective favoured by European artists unlike the flattened multi layered style used in traditional miniatures He particularly encouraged paintings depicting events of his own life individual portraits and studies of birds flowers and animals The Tuzk e Jahangiri or Jahangirnama written during his lifetime which is an autobiographical account of Jahangir s reign has several paintings including some unusual subjects such as the union of a saint with a tigress and fights between spiders citation needed Mughal paintings made during Jahangir s reign continued the trend of Naturalism and were influenced by the resurgence of Persian styles and subjects over more traditional Hindu 35 Shah Jahan 1628 1659 Edit During the reign of Shah Jahan 1628 58 Mughal paintings continued to develop but court paintings became more rigid and formal The illustrations from the Padshanama chronicle of the King of the world one of the finest Islamic manuscripts from the Royal Collection at Windsor were painted during the reign of Shah Jahan Written in Persian on paper that is flecked with gold has exquisitely rendered paintings The Padshahnama has portraits of the courtiers and servants of the King painted with great detail and individuality In keeping with the strict formality at court however the portraits of the King and important nobles was rendered in strict profile whereas servants and common people depicted with individual features have been portrayed in the three quarter view or the frontal view Themes including musical parties lovers sometimes in intimate positions on terraces and gardens and ascetics gathered around a fire abound in the Mughal paintings of this period 36 citation needed Even though this period was titled the most prosperous artists during this time were expected to adhere to representing life in court as organized and unified For this reason most art created under his rule focused mainly on the emperor and aided in establishing his authority The purpose of this art was to leave behind an image of what the Mughal s believed to be the ideal ruler and state 37 Later paintings Edit A durbar scene with the newly crowned Emperor Aurangzeb in his golden throne Though he did not encourage Mughal painting some of the best work was done during his reign Aurangzeb 1658 1707 was never an enthusiastic patron of painting largely for religious reasons and took a turn away from the pomp and ceremonial of the court around 1668 after which he probably commissioned no more paintings After 1681 he moved to the Deccan to pursue his slow conquest of the Deccan Sultanates never returning to live in the north 38 Mughal paintings continued to survive but the decline had set in Some sources however note that a few of the best Mughal paintings were made for Aurangzeb speculating that they believed that he was about to close the workshops and thus exceeded themselves in his behalf 39 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 By that time 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 Late Mughal style often shows increased use of perspective and recession under Western influence Many museums have collections with that of the Victoria and Albert Museum in London especially large 40 Artists Edit The scribe and painter of a Khamsa of Nizami manuscript in the British Library made for Akbar 1610 The Persian master artists Abd al Samad and Mir Sayyid Ali who had accompanied Humayun to India in the 16th century were in charge of the imperial atelier during the formative stages of Mughal painting Many artists worked on large commissions the majority of them apparently Hindu to judge by the names recorded Mughal painting generally involved a group of artists one generally the most senior to decide and outline the composition the second to actually paint and perhaps a third who specialized in portraiture executing individual faces 41 This was especially the case with the large historical book projects that dominated production during Akbar s reign the Tutinama Baburnama Hamzanama Razmnama and Akbarnama For manuscripts of Persian poetry there was a different way of working with the best masters apparently expected to produce exquisitely finished miniatures all or largely their own work 42 An influence on the evolution of style during Akbar s reign was Kesu Das who understood and developed European techniques of rendering space and volume 43 Conveniently for modern scholars Akbar liked to see the names of the artists written below each miniature Analysis of manuscripts shows that individual miniatures were assigned to many painters For example the incomplete Razmnama in the British Library contains 24 miniatures with 21 different names though this may be an especially large number 44 Other important painters under Akbar and Jahangir were 45 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 37 had been a painter in the imperial workshop Ustad Mansur flourished 1590 1624 a specialist in animals and plants Abu al Hasan 1589 c 1630 Bichitr 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 MiskinOthers Nanha Daulat Payag Abd al Rahim Amal e Hashim Keshavdas and Mah Muhammad The sub imperial school of Mughal painting included artists such as Mushfiq Kamal and Fazl During the first half of the 18th century many Mughal trained artists left the imperial workshop to work at Rajput courts These include artists such as Bhawanidas and his son Dalchand Mughal style today EditThis section does not cite any sources Please help improve this section by adding citations to reliable sources Unsourced material may be challenged and removed November 2020 Learn how and when to remove this template message Mughal style miniature paintings are still being created today by a small number of artists in Lahore concentrated mainly in the National College of Arts Although many of these miniatures are skillful copies of the originals some artists have produced contemporary works using classic methods with at times remarkable artistic effect The skills needed to produce these modern versions of Mughal miniatures are still passed on from generation to generation although many artisans also employ dozens of workers often painting under trying working conditions to produce works sold under the signature of their modern masters Gallery Edit Portrait of Akbar A noble lady Mughal dynasty India 17th century Color and gold on paper Freer Gallery of Art F1907 219 Nur Jahan Shah Jahan on a terrace holding a pendant set with his portrait Daud Khan Karrani receives a Kaftan of honor from Munim Khan Victory of Ali Quli Khan on the river Gomti Akbarnama 1561 Mir Sayyid Ali s depiction of a young scholar in the Mughal Empire reading and writing a commentary on the Quran 1559 Battle scene from the Hamzanama of Akbar 1570 The Submission of the rebel brothers Ali Quli and Bahadur Khan Akbarnama 1590 95 46 Akbar riding the elephant Hawa I pursuing another elephant across a collapsing bridge of boats right 1561 Pir Muhammad Drowns While Crossing the Narbada Akbarnama 1562 Akbar receiving his sons at Fatehpur Sikri Akbarnama 1573 Europeans embracing Lahore c 1590 Alexander is Lowered into the Sea from a Khamsa Quintet of Amir Khusrau Dihlavi c 1597 98 attributed to Mukanda 47 Balchand 48 The Dying Inayat Khan c 1618 Bodleian Library Oxford Mughal Prince visits a Holy Man A Mughal prince and ladies in a garden 18th century A young woman playing a Veena to a parakeet a symbol of her absent lover 18th century painting in the provincial Mughal style of Bengal Female performer with a tanpura 18th century Color and gold on paper Freer Gallery of Art F1907 195 Ascetic Seated on Leopard s Skin late 18th century Mughal Ganjifa playing cards early 19th century with miniature paintings courtesy of the Wovensouls collection The figural decoration of this example shows a strong relationship to paintings of the 17th century 49 See also EditArabic miniature Indian painting Madhubani painting Ottoman miniature Rajput painting Tanjore painting Western painting Persian miniature Islamic miniatureNotes Edit Ali Azmat Sahni Janmejay Sharma Mohit Sharma Prajjwal Goel Dr Priya 2019 11 12 IAS Mains Paper 1 Indian Heritage amp Culture History amp Geography of the world amp Society 2020 Arihant Publications India limited ISBN 978 93 241 9210 3 BBC Religions Islam Mughal Empire 1500s 1600s www bbc co uk Retrieved 2019 01 01 Crill and Jariwala 23 30 Losty J P Roy Malini 2012 Mughal India Art Culture and Empire Manuscripts and Paintings in the British Library London The British Library pp 132 133 ISBN 9780712358705 Abid Reign of Shah Jahan portrait by Abid dated 1628 assembled late 17th century Mirror Case With Portrait of Mumtaz Mahal Freer Gallery of Art F2005 4 1 Crill and Jariwala 66 Crill and Jariwala 27 39 and catalogue entries Crill and Jariwala 68 Hansen Waldemar The Peacock Throne The Drama of Mogul India 102 1986 Motilal Banarsidass ISBN 978 81 208 0225 4 Kaur Manpreet February 2015 Romancing The Jharokha From Being A Source Of Ventilation And Light To The Divine Conception PDF International Journal of Informative amp Futuristic Research Beach 32 37 37 quoted Beach 61 Chaitanya Krishna 1976 A History of Indian Painting Abhinav Publications pp 6 7 Harle 372 Harle 372 Seyller John 1999 Workshop and Patron in Mughal India The Freer Ramayaṇa and Other Illustrated Manuscripts of Abd al Raḥim Artibus Asiae Supplementum 42 3 344 ISSN 1423 0526 JSTOR 1522711 Titley 161 166 Titley 161 Losty 12 Titley 187 Sarafan Greg 6 November 2011 Artistic Stylistic Transmission in the Royal Mughal Atelier Sensible Reason Seyller John 1999 Workshop and Patron in Mughal India The Freer Ramayaṇa and Other Illustrated Manuscripts of Abd al Raḥim Artibus Asiae Supplementum 42 3 344 ISSN 1423 0526 JSTOR 1522711 Seyller John 1999 Workshop and Patron in Mughal India The Freer Ramayaṇa and Other Illustrated Manuscripts of Abd al Raḥim Artibus Asiae Supplementum 42 3 344 ISSN 1423 0526 JSTOR 1522711 Crill and Jariwala 50 Crill and Jariwala 50 Grove Grove Beach 58 Beach 49 Grove Losty 15 Eastman Ebba Koch Visual Strategies of Imperial Self Representation The Windsor Padshahnama Revisited Koch Ebba Visual Strategies of Imperial Self Representation The Windsor Padshahnama Revisited Art Bulletin Seyller John 1999 Workshop and Patron in Mughal India The Freer Ramayaṇa and Other Illustrated Manuscripts of Abd al Raḥim Artibus Asiae Supplementum 42 3 344 ISSN 1423 0526 JSTOR 1522711 Britannica a b Singh Kavita 13 June 2021 In a resplendent portrait of a Mughal emperor subtle clues about a dark fall Scroll in Retrieved 2021 06 13 a href Template Cite web html title Template Cite web cite web a CS1 maint url status link Losty 147 149 Commentary by Stuart Cary Welch V amp A About us Victoria and Albert Museum Retrieved 2022 02 17 Losty 31 Crill and Jariwala 27 Britannica Losty 31 Bloom Jonathan M Blair Sheila S 2009 The Grove Encyclopedia of Islamic Art and Architecture Vol 1 Oxford University Press p 380 ISBN 978 0 19 530991 1 Razmnamah the Persian Mahabharata British Library Asian and African studies blog by Ursula Sims Williams April 2016 see table near bottom Diamind Maurice Mughal Painting Under Akbar the Great Metropolitan Museum of Art Basawan amp Chitra 1590 1595 The Submission of the rebel brothers Ali Quli and Bahadur Khan Akbarnama Akbarnama Alexander is Lowered into the Sea www metmuseum org Retrieved 2018 12 14 Smart Ellen 1999 The Death of Inayat Khan by the Mughal Artist Balchand Artibus Asiae Supplementum 58 273 279 ISSN 1423 0526 JSTOR 3250020 Box with Scenes of an Emperor Receiving Gifts early to mid 17th century www metmuseum org Retrieved 2018 12 17 References EditBeach Milo Cleveland Early Mughal painting Harvard University Press 1987 ISBN 0 674 22185 0 ISBN 978 0 674 22185 7 google books Crill Rosemary and Jariwala Kapil The Indian Portrait 1560 1860 National Portrait Gallery London 2010 ISBN 9781855144095 Eastman Alvan C Mughal painting College Art Association 3 2 1993 36 Web 30 Sep 2013 Grove Oxford Art Online Indian sub VI 4 i Mughal ptg styles 16th 19th centuries restricted access Harle J C The Art and Architecture of the Indian Subcontinent 2nd edn 1994 Yale University Press Pelican History of Art ISBN 0300062176 Kossak Steven 1997 Indian court painting 16th 19th century Metropolitan Museum of Art ISBN 0870997831 Losty J P Roy Malini eds Mughal India Art Culture and Empire 2013 British Library ISBN 0712358706 9780712358705 Mughal Painting Encyclopaedia Britannica Encyclopaedia Britannica Academic Online Edition Encyclopaedia Britannica Inc 2013 Web 30 Sep 2013 Titley Norah M Persian Miniature Painting and its Influence on the Art of Turkey and India 1983 University of Texas Press 0292764847 Sarafan Greg Artistic Stylistic Transmission in the Royal Mughal Atelier Sensible Reason LLC 2007 SensibleReason comFurther reading EditPainting for the Mughal Emperor The Art of the Book 1560 1660 by Susan Stronge ISBN 0 8109 6596 8 Fiction in Mughal Miniature Painting by Prof P C Jain and Dr Daljeet Painting the Mughal Experience by Som Prakash Verma 2005 ISBN 0 19 566756 5 Chitra Die Tradition der Miniaturmalerei in Rajasthan by K D Christof amp Renate Haass 1999 ISBN 978 3 89754 231 0 Welch Stuart Cary et al 1987 The Emperors album images of Mughal India New York The Metropolitan Museum of Art ISBN 978 0870994999 Welch Stuart Cary 1985 India art and culture 1300 1900 New York The Metropolitan Museum of Art ISBN 9780944142134 Artistic Stylistic Transmission in the Royal Mughal Atelier by Greg Sarafan Esq 2007External links Edit Wikimedia Commons has media related to Mughal miniatures Indian Court Painting 16th 19th Century from the Metropolitan Museum of Art National Museum Delhi Mughal paintings San Diego Museum of Art Collection Art of the Mughal Empire from the University of Michigan Museum of Art Retrieved from https en wikipedia org w index php title Mughal painting amp oldid 1128669028, wikipedia, wiki, book, books, library,

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