Painted in Northern India within the royal Mughal imperial workshop during the late Akbar period (ca. 1590–1595). It was formally acquired by the Victoria and Albert Museum in London, where it is preserved under the permanent accession catalog number IS.2:58-1896.
This historical folio is an exceptional painting from the first illustrated manuscript of the Akbarnama (The Book of Akbar), produced in the Mughal imperial studio between 1590 and 1595. The composition illustrates a critical military event from June 1567, during which Emperor Akbar displays immense strategic courage by forcing his imperial army—and his famous royal war elephant, Udiya—to cross the dangerous, swollen currents of the Ganges River in rapid pursuit of the treacherous rebel leaders Khan Zaman and Ali Quli Khan.
The creation of this intricate folio represents the highly structured collaborative practices of the royal Mughal karkhana (workshop). The overall structural composition and initial outline sketch were drafted by the prominent court artist Jagan. However, the vital responsibility for the coloring, detailed painting, and final execution was handed over to the artist Nand Gwaliyari (frequently recorded in archival texts as Nand Gwaliori).
True to the specific focus on his background, Nand Gwaliyari originated from Gwalior in Central India. He utilized his specific assignment over the coloring phase to consciously subvert the rigid, highly stylized Persian conventions that dominated early Islamic manuscripts. Instead of rendering a flat or highly decorative river setting, Nand Gwaliyari introduced distinct indigenous Indian architectural sensibilities and earthy landscape attributes into the scene. His realistic execution of the jagged riverbank terrain, the masonry textures of the regional structural fort and camp elements visible in the background, and the organic mud shores are heavily reflective of local North and Central Indian topography. By integrating these specific regional architectural details and landscape realities into the imperial chronicle, Nand Gwaliyari successfully grounded this historic royal event in a tangible, unmistakably Indian context, making this folio a crucial example of early Mughal stylistic evolution
The image may symbolize not only a royal journey or hunt but also the emperor’s command over nature and territory. The organized movement of soldiers and attendants reflects discipline and imperial order, themes commonly celebrated in Mughal court art. Overall, the miniature combines historical narrative with artistic elegance, showcasing the grandeur and sophistication of Mughal painting traditions.
