The Akbarnama was written by the court historian Abu'l Fazl between 1590 and 1596. It is thought to have been illustrated between approximately 1592 and 1594 by at least forty-nine different artists from Akbar's studio. After Akbar's death in 1605, the manuscript remained in the library of his son Jahangir ( 1605–1627) and later Shah Jahan ( 1628–1658).
Jahangir confirmed in an autograph that he took over the work shortly after his accession to the throne and classified the Akbarnama as a particularly valuable manuscript of "first class second degree." Aurangzeb had his seal affixed to the volume in 1668–69, after which the work disappeared from the imperial library at an unspecified date. Seals from 1766 and 1794 identify the Nawab of Rampur as the next recorded owner. Major General John Clarke, who served as Commissioner of Oudh between 1858 and 1862, acquired the manuscript while stationed in India. After his death, his wife Frances Clarke sold it to the Victoria and Albert Museum in 1896. The manuscript was subsequently unbound so that individual folios could be studied and displayed separately.
The folio shows the Mughal emperor Akbar presiding over the construction of Fathpur, the imperial city later known as Fatehpur Sikri, in 1571. The scene is crowded with human activity and is organised across multiple spatial registers that move from a busy ground-level worksite at the bottom of the composition upward to a raised platform near the top centre where the emperor stands.
Akbar is immediately identifiable in the upper-middle section. He wears a full white jama, which in the conventions of Mughal portraiture signals imperial rank and purity. Around his neck is a dark ornament, and a figure behind him carries a large ceremonial parasol or staff topped with a decorated finial in blue and gold, marking the space around the emperor as one of authority. His posture is upright and his hand is extended in what reads as a gesture of supervision or instruction. A musician holding a stringed instrument stands close to him.
Below and around the emperor, the image documents the labour of construction with precise attention to craft and social hierarchy. Workers carry flat trays of building material up a central ramp or ladder structure. Some figures bend under the weight of loads while others hand off materials between levels. A pulley or primitive hoist mechanism is visible in the middle ground. To the left of this central action, a cluster of figures sits in an arcade — possibly clerks or supervisors. On the far left a woman in a blue-grey wrap and another in pink sit separately from the male labour force, observing the scene.The lower section of the folio moves outward from the construction site. A man in yellow holds a plank near several animals, including a black and white goat and an ox, while workers at the far right carry large timber beams. Red, orange, yellow, mustard, blue and green dominate the colour palette — these saturated, non-naturalistic hues are characteristic of Akbar-period manuscript painting, where colour functioned to distinguish figures and mark spatial zones rather than to replicate what construction sites looked like.
The inscription in the lower margin identifies three contributors: Tulsi as the designer, Bandi as the colourist and Madhav Khurd as the portraitist. This division of labour was characteristic of how the Mughal imperial kitabkhana functioned — an institution where several artists of varied specialisations worked collaboratively on a single folio.The architecture depicted in the upper corners of the folio is already partly built: red sandstone structures with arched openings, pillared verandas, tiled interiors and domed pavilions are rendered with the kind of specificity that suggests the artists had access to visual references of the site itself. The treatment of space draws on Persian conventions — there is no single vanishing point — but the crowd of figures and the variety of activity shown simultaneously are consistent with the visual vocabulary that developed in Akbar's atelier as it absorbed artists from across South Asia. Akbar's atelier grew from about thirty artists in 1557 to over one hundred in the 1590s, consisting of painters, colourists, calligraphers, bookbinders and other specialists. This folio is among the most frequently cited examples of that collaborative model, and it remains one of the central visual documents of Mughal construction practice in the sixteenth century.
The image is a beautiful depiction of Mughal courts were. It has beautifully captured the working of everyday life as well the sufferings, the image is detailed in with a huge minute aspects which makes it even more beautiful.
