Art
Art was a defining feature of Mughal rule. With their
distinctive miniature paintings and illustrated
manuscripts, the Mughals documented their own history and
stories with glittering images of exquisite beauty and
detail.
Ironically, it was during a low point in Humayun’s reign
that a strategic development in Mughal art occurred. During
his 15 year exile after being defeated by the Afghan leader
Sher Shah Sur, Humayun stayed in various places, including
Sind, Iran and Afghanistan. During a stay at the Safavid
court, Humayun had time to soak up the architecture of
Herat and Samarkand. Most important of all however, was
that when Humayun returned from exile in 1555, he managed
to persuade two established Safavid court painters to go
with him. Back in the re-established Mughal court, painters
Abd as-Samad and Mir Sayyid Ali took control of the
imperial painting studios, teaching their skills and
overseeing artistic production.
When Akbar came to power on his father’s death only one
year later, his enthusiastic patronage transformed the
court ateliers. After the distinctly Persian flavour that
Abd as-Samad and Mir Sayyid Ali brought to artworks
produced, Akbar also encouraged Hindu painters into his
workforce. He also enjoyed reflecting on the Western art
that was finding its way into India, often in the form of
religious works brought by Jesuits. These collective
influences, and the fact that each painting passed through
the hands of various artists, resulted in an original new
style.
Akbar commissioned many great works during his reign. In
keeping with his tolerant approach to religion, he
commissioned many illustrated manuscripts of religious
(including Hindu) and secular topics. An example of such a
work is the Hamzanama, which was produced and illustrated
in around 1565. Approximately a hundred artists were
employed for the mammoth task of producing some 1400
illustrations.
Akbar’s son, Jahangir, continued the Mughal tradition in
painting. However, Jahangir was concerned more for quality
than quantity, and was proud of his connoisseurship of the
arts. On ascending the throne in 1605, he immediately
dismissed a large number of painters from the court who he
Ancient Civilizations –
Page 1 of 4
www.mughalindia.co.uk
felt were incapable of doing justice to the grandeur of the
dynasty at its pinnacle.
By contrast, Shah Jahan was famous more for his passion for
architecture and fabulous jewels, than painting. During his
reign, painting grew rather more stiff and formal, and the
number of major manuscript commissions dropped
considerably.
Aims and Objectives:
At first glance, a Mughal painting may look curious to the
eye trained in western art. Students can think that the
perspective is ‘wrong’ for example, and they may find the
heavily detailed patterning and bright colours, unfamiliar.
The sourcebook is a useful way of drawing out some of the
issues behind looking at art; comparing western and Mughal
art and considering the differences between them, for
example. Different views on what makes ‘good’ art can also
be addressed through the original sources – looking for
prejudice, misunderstanding and cultural preferences, as
well as considering the purpose of art and how it has
changed.
Ancient Civilizations –
Page 2 of 4
www.mughalindia.co.uk
Instructions
In the Resources Room, go
to the Filing Cabinet.
Mughal miniature
painting;
‘Humayun in a Tent.’
In the Art folder,
compare images E and F.
Jot down your
observations in the
table. Not all the
questions will be
relevant to both
paintings.
Image E
Image F
Colour:
Are the colours bright?
Realistic? Atmospheric?
Cheerful? Does any one
particular colour
dominate the picture?
Nature:
What do you make of the
trees and the shrubs in
the paintings? Do they
look realistic? Are they
detailed? How has the
artist chosen to
represent them?
Organisation /
Composition:
How has the painting been
organised? Is it a ‘busy’
picture with lots going
on – or is it more
spaced? Is every area of
the picture full, or are
there empty areas? What
effects do your
observations have?
Perspective:
Can you believe what you see in
the painting? Does it look realistic
– or do things look ‘flat?’ Can you
look into the distance – or does
everything look close to you? Are
your eyes drawn into the picture,
Ancient Civilizations –
Page 3 of 4
European
watercolour
painting by JMW
Turner, from 1816;
‘Vale of
Ashburnham.’
www.mughalindia.co.uk
or do you find yourself looking all
over it?
Ancient Civilizations –
Page 4 of 4
www.mughalindia.co.uk