A Himalayan Cheer Pheasant
| Support Type: | Paper |
| Paint Type: | Watercolor |
| Current Location: | Victoria and Albert Museum, London |
| Location History: | c. 1620 | The Mughal Royal Library: The painting was created at the Mughal imperial court under Emperor Jahangir. It was bound into a muraqqa (a highly secure royal album of miniatures and calligraphy) and kept in the Royal Library, moving between major imperial seats such as Agra, Delhi, and Lahore, as well as the summer retreats of Kashmir. Mid-18th to 19th Century | Dispersion from Delhi: Following the decline of the Mughal Empire and the sack of Delhi in 1739, many royal muraqqas were broken up or looted. Individual folios began surfacing in provincial kingdoms or falling into the hands of British East India Company officials, who aggressively collected them as trade items. Late 19th Century | Locking House, Berkshire, England: The painting entered the prominent private collection of Robert Lindsay (1st Baron Wantage) and his wife, Harriet Sarah Lindsay (Baroness Wantage). It was preserved at their estate, Locking House, in Berkshire, forming a core part of the renowned "Wantage Collection" of Indian miniatures. 1921–Present | Victoria and Albert Museum, London: Following the death of Lady Wantage, the painting was formally bequeathed to the museum. It has remained a permanent part of the V&A’s South Asian collection under accession number IM.136-1921 |
A Himalayan Cheer Pheasant was painted by Ustad Mansur, one of the most famous artists of the Mughal Empire. He specialised in highly detailed, specific animal, bird, and plant paintings. Jahangir was fascinated by nature and its beauty, which encouraged artists to take great care when painting particular species. This is evident in Mansur’s painting; it looks very realistic with lots of fine detailing. There is a Himalayan cheer pheasant at the front of the painting sitting on a rock. It takes up most of the space, meaning it is the main focus. The pheasant has a long, feathered tail and a head slightly turned to the right. The piece is very carefully painted with lots of fine detail. The pheasant has striped feathers, a pointed beak, red eyes and skinny legs. It has been painted with many different shades of brown, grey and white. This creates detailed patterns. In the background, there are some gentle hills, patches of grass and a group of flying birds. This keeps the main focus on the pheasant. The piece has been painted with watercolour and gold. It has very detailed brushstrokes, and the colours are very subtle. This shows how accurate the Mughal miniatures were. There is also an elaborate border. There are many golden flowers. Interestingly, this border was added around 1635. This artwork is significant as it shows how much the Mughal court was interested in studying nature. Mansur has taken great care to paint the pheasant, meaning it is the main focus. This has shown how science and Mughal art can be combined together to make a beautiful piece.
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