Victoria and Albert Museum, London, in the South & South East Asia Collection, under accession number IS.2:2-1896.
Tulsi Kalan, or Tulsi the Elder, belonged among the ranks of the senior artists in Akbar's atelier. Beneath this particular painting and also others in the atelier, we can see inscriptions in red ink. Here the inscription reads “Tarh Tulsi Amal Narayan", which translates to "composition by Tulsi, colouring by Narayan". Scholars who study such scribal notes have established that these were internal administrative records of the workshop labour rather than an artist's signature. The tarh designer was credited as the senior party responsible for making the compositional structure, which a colourist was later tasked with executing.
The painting depicts the first time when Akbar personally witnessed the capture of cheetahs. Abu'l Fazl described this event as the most remarkable form of hunting practised in Hindustan. In such situations, the animals were lured into specially dug pits and taken without injury to be tamed for the royal hunt. Tulsi's design here shows the emperor directly involved in assisting the lifting of the captured animal from its pit. This image in a way collapses the distance between sovereign and manual labour in a manner that is seen in his construction scenes for the same manuscript, where the emperor in a similar manner appears as an embedded participant rather than being merely a remote spectator.
This particular painting also belongs to a broader group of Akbarnama illustrations that depict the animal with its keepers and jewelled collars, thereby reflecting the manuscript's attention to the material culture of courtly hunting. What is to be noted is that the presence of Tulsi as a painter in the atelier can only be recovered through such inscriptions in the texts, as his name seems to be missing from the seventeen painters Abu'l Fazl names in the A'in-i Akbari.
This Mughal miniature painting from the Akbarnama shows Akbar watching the capture of cheetahs a part of royal hunting traditions. The picture is full of movement and people showing hunters, helpers, soldiers and animals all working together. In the middle a cheetah that has been caught is being pulled out of a hole in the ground and Akbar is right there taking part in what is happening. This special way of showing the emperor is not as a person but as someone who is involved, showing that he is approachable full of energy and interested in real-life activities. The detailed background with trees, buildings, clothes, weapons and decorated hunting tools gives information, about life in the sixteenth-century court. The writing "Tarh Tulsi Amal Narayan" tells us that Tulsi was the one who designed the painting and Narayan was the one who added the colors showing how the emperor’s team worked together. So this painting brings together history the ideas of the emperor and careful watching of nature and court life.
