Mughal painting: the story on HearLore

Mughal painting

In the year 1562, a colossal project began within the Mughal court that would redefine the visual language of South Asia for centuries to come. The Hamzanama, a manuscript containing 1,400 miniatures, was commissioned by Emperor Akbar to illustrate the legendary tales of Hamza, the uncle of the Prophet Muhammad. Unlike previous Persian manuscripts that relied on flat, decorative compositions, this work utilized unusually large cotton folios measuring 69 centimeters by 54 centimeters. The sheer scale of the project required a unified style to be forged from the disparate talents of artists brought from Iran and various regions of India. By the end of the decade, the flat and decorative compositions of Persian painting had been transformed into a believable space where characters painted in the round could perform. This massive undertaking served as the crucible for the Mughal style, establishing a tradition of realism and narrative complexity that would become the hallmark of imperial art.

Portraits of Power

The Mughal court introduced a radical departure from tradition by making realistic portraiture a central feature of its artistic output. While Persian miniatures rarely depicted individuals with specific features, Mughal artists began to capture the likeness of the emperor and his courtiers with striking accuracy. Akbar utilized an album of portraits for practical administrative purposes, consulting it to recall the faces of men he was discussing for appointments. These portraits often featured the head in strict profile with the body half-turned, a pose influenced by Western prints that had begun to arrive at the court. Under Jahangir, the single idealized figure of the Riza Abbasi type gave way to fully painted scenes of lovers in palace settings, and the Jharokha Darshan, or balcony view, became a daily ceremonial display of the emperor to his subjects. These images, often accompanied by large halos, reflected the later Mughals' aspiration to project themselves as representatives of Allah on earth, or even as having a quasi-divine status.

The Naturalist's Eye

A unique fascination with the natural world distinguished Mughal painting from its Persian and Indian predecessors. Ustad Mansur, a specialist active between 1590 and 1624, dedicated his career to the realistic study of birds, flowers, and animals. The text of the Baburnama included detailed descriptions of new species encountered in India, which were then illustrated in copies made for Akbar. While some scholars argue that early animal imagery consisted of variations on a theme rather than innovative observations, the Mughal approach to naturalism was undeniably distinct. The style borrowed from Chinese animal paintings on paper, which had reached India as discarded items by Chinese collectors. These works were not merely decorative; they were scientific records of the empire's biodiversity, rendered with a precision that would later influence the Company style of the British East India Company.

Common questions

When did the Hamzanama project begin and how many miniatures did it contain?

The Hamzanama project began in the year 1562 and contained 1,400 miniatures. Emperor Akbar commissioned this manuscript to illustrate the legendary tales of Hamza, the uncle of the Prophet Muhammad. The work utilized unusually large cotton folios measuring 69 centimeters by 54 centimeters.

What specific artistic changes did Mughal painting introduce compared to Persian miniatures?

Mughal painting introduced realistic portraiture and believable space where characters painted in the round could perform. While Persian miniatures rarely depicted individuals with specific features, Mughal artists captured the likeness of the emperor and his courtiers with striking accuracy. The style also borrowed from Chinese animal paintings on paper to create scientific records of the empire's biodiversity.

Who were the Persian artists brought to the Mughal court by Humayun?

Humayun brought two accomplished Persian artists named Abd al-Samad and Mir Sayyid Ali to his court. These masters, along with Dust Muhammad, a disciple of Kamal ud-Din Behzad, formed the core of the imperial atelier during the formative stages of Mughal painting. The style developed within the royal workshop through a system of joint manuscript production.

When did the decline of Mughal painting begin under Aurangzeb?

The decline of Mughal painting began around 1668 when Aurangzeb took a turn away from the pomp and ceremonial of the court. After 1681, he moved to the Deccan to pursue his conquest of the Deccan Sultanates and never returned to live in the north. A brief revival occurred during the reign of Muhammad Shah, but by the time of Shah Alam II, the art of Mughal painting had lost its glory.

Which artists are recorded as having created Mughal miniatures under Akbar and Jahangir?

Important painters under Akbar and Jahangir included Farrukh Beg, Daswanth, Basawan, Daulat, Govardhan, and Ustad Mansur. Women artists were also a part of the Mughal atelier, contributing to commissions like the Gulshan Album, which included the work of at least three women artists. Akbar liked to see the names of the artists written below each miniature.