As said by Giotto, ‘Every painting is a voyage into a sacred harbour.’ Mughals understood this very well and created a really flourishing artistic traditions. Emperors like Akbar, Jahangir and Shah Jahan were huge patrons of art and played a key role in their development. These paintings aimed to show not just the glories of Mughal rulers but also the rich lifestyle of common people in Indian subcontinent.
Early Mughal Art
It was started by Humayun when he brought two eminent Persian masters Mir Sayyed Ali and Khawaja Abdul Samad. But it was not until Akbar, that gave paintings huge importance and established The Royal Atelier in 1570 in his capital in Fatehpur Sikri and later moved to Lahore. Paintings of unprecedented quality were being created, under the guidance of Mir Sayyed Ali several artists from all sects of society were recruited and trained.
They perfected the South Asian style of Miniature Paintings, a style used to illustrate manuscript, books and albums. Which got its name due to the general small size of these kinds of artwork. Akbar was aware of the impact and influence these illustrations held, he thus commissioned artwork to show the valor and exploits of not just his but also his predecessors with Baburnama and Akbarnama. His patronage also reflects the curiosity driven mindset he had with the illustrations of Mahabharata in Razmnama.
Jahangir developed this institution even more and had a lot of pride as the judge of painters and paintings. He perfected the style of realism with great psychological depth. The still life artworks of exotic flora and fauna created in his period are still unmatched today. It was influenced by Indian, Persian and even European artistic traditions. Highest achievement of Mughal Paintings was the ability to turn common scenes and landscapes into a wonder and spiritual intimacy as seen in Yoga Vasishtha (a Vedanta) and Nafahat al-Uns (a Sufi biography).
Royal Atelier in Delhi
Finally under the reign of Shah Jahan The Royal Atelier was shifted to Shahjahanabad, now known as Old Delhi, which will remain here until the end of Mughal rule. Even though emperor Shah Jahan’s legacy shines in its architectural development, artworks done in his reign should not be ignored.
The artists of this period were masters of extraordinary skills from complex brushwork, delicate detailing, to the usage of gold and most vibrant pigments. They applied great knowledge of perspective and geography to guide the eyes of viewers towards central themes and characters.
In Shah Jahan’s reign the institution became more formal and strict as compared to the earlier emperors. Some of the best artists of this atelier were Mir Hashim, Murar, Bichitr, and Manohar. These artists explored and experimented with several art styles to satisfy their patron. Their masterpiece was Padshanama, a diligently detailed grand work showing skills and talents of the imperial atelier.
Motifs and Themes
Court Culture :- Many paintings illustrate court life and activities, with portraits of nobles and rulers. This was the part of Imperial Vision of Mughal administration. It was done to establish the ruler’s authority as a political, cultural and even religious figure. Thus, those miniature artwork depicted royal processions, hierarchical structure of court, portraits and opulent lifestyle.
Gold Decoration :- started in the Jahangir’s period, the abundant use of gold as a decoration reached its peak under Shah Jahan. The artists used gold leaves and gold paint to decorate certain aspects like jewelry, architectural details, borders and other elements. It required specialized skills and was done to symbolize luxury.
Celebrations and Leisure :- The emperor commissioned several works depicting glorious processions and celebratory events, it depicted religious festivals, imperial weddings and victory parades. Some paintings even depict Mughal rulers engaging in leisurely activities like polo, hunting and musical performances. It was created to show the grandeur of Indian cultures and emperor’s appreciation towards the same.
Architecture on Paper :- The structures built in this period were so magnificent, even painters realized their artistic quality. Palaces, forts and gardens etc. were usually depicted sometimes in the background, sometimes as the central landscape. They were extensively decorated with fountains, pavilions, floral patterns etc. Another element that became a central motif was the famous Peacock Throne of Shah Jahan, a throne covered with rare gems and designs.
Last of the Tradition
The Royal Atelier started by Akbar kept the artistic tradition alive even after the decline of Mughal Empire. The last great atelier — came from a family of prestigious painters — was artist Ghulam Ali Khan. The period his career was active in was 1817–55. He described himself in an inscription as “the hereditary slave of the dynasty, Ghulam Ali Khan the portraitist, resident at Shahjahanabad.”
He was the royal court painter of Mughal emperors Akbar II and Bahadur Shah II. Due to the weakened position of the state, he was not being sufficiently funded by the state. In order to survive, he undertook several commissions from other nobles including British. His greatest patrons were James Skinner and William Fraser, under them he created his most influential work The Fraser Album.
His style of art was reminiscent of naturalism shown at the time of Shah Jahan. He painted images of both nobles and ordinary people as commissioned by Skinner. He also captured several landscapes and cityscapes along with the drawings of army and courts. But eventually due to the lack of funds and lack of interest from the new British rulers this artistic tradition of Mughal Miniature Paintings died down.
Conclusion
Mughal patronage developed and perfected the style of Miniature Paintings. It is not just an expression of emperor’s will but the expression of culture it resides in. It gained influence from various areas and aspects from local Indian style to foreign Persian & European style. In return, it greatly impacted the Indian art and culture. An influence that still motivates artists, architects and scholars. A cultural heritage still being celebrated.
Paintings and illustrations are not just scribbles done on paper it is a portal of that era’s culture. Art is a product of its surrounding adapting to any and every context, showcasing itself to the viewer of both it’s and other world, wondering if it will be understood.
References
- Harle, J. C. The art and architecture of the Indian subcontinent. Penguin books.
- Asghar, Samreen and others. Gold in Mughal Miniature Court Paintings in the era of Emperor Shah Jahan. Pakistan Languages and Humanities Review.
- Dalrymple, William & Sharma, Yuthika. Princes and Painters in Mughal Delhi, 1707–1857. Asia Society.
- Beach, M. Cleveland. Early Mughal Paintings. Harvard University.
This is amazing Sahil!! Good work!