Short answers, pulled from the story.
Humayun fled to Persia in the 1540s and returned to India with two accomplished Persian artists named Abd al-Samad and Mir Sayyid Ali. These men became the foundation of the imperial atelier that marked the beginning of a new era for Mughal painting.
The Hamzanama is a massive manuscript consisting of 1,400 cotton folios measuring approximately 69 cm by 54 cm. Each page features densely woven figures often crowded together in scenes of romantic interludes threats narrow escapes and violent acts.
During Shah Jahan's reign from 1628 to 1658 portraits of kings remained in strict profile while servants and common people appeared in three-quarter or frontal views with individualized features. This period also saw large halos surrounding later emperors reflecting aspirations to project quasi-divine status.
Ustad Mansur worked between approximately 1590 and 1624 specializing exclusively in birds and animal studies for albums. His paintings included detailed depictions of creatures like nilgai alongside flowers and plants described in Babur's memoirs.
Aurangzeb never enthusiastically patronized painting largely for religious reasons taking a turn away from pomp and ceremonial around 1668 after which he probably commissioned no more paintings. He moved to the Deccan pursuing slow conquests never returning north after 1681.