Akbar offering a prayer of thanksgiving for his victories in Bengal

This famous mini-painting is a page from the Akbarnama, the official royal history of the reign of the Mughal Emperor Akbar (r.1556–1605) which was ordered by the emperor himself and written by the court historian Abu’l-Fazal. In particular, it depicts a historic event from 1576, concerning the eastern imperial province of Bengal. At this time, the Afghan ruler Daud Khan was resisting Mughal power, which led to a series of military expeditions ordered by Akbar. The first expedition was successful, leading to Patna’s capture and Daud’s flight, and since then, the war continued. In July 1576, despite adverse weather conditions of the rainy season, Akbar sent reinforcements from Fatehpur Sikri. Soon after starting the mission, a messenger unexpectedly arrived with the news of a major victory of the Mughals, manifested by the presentation of the head of the rebel leader to the emperor. The painting depicts this moment when the Mughals had won the battle and received divine grace. The fact that the artwork was created in the imperial workshops (karkhanas) implies the sophisticated joint studio practices typical for the Akbari studio at the end of the 16th century. Based on the contemporary Persian inscriptions made in red ink at the bottom of the artwork by the royal librarian, La’l was the artist who created the visual imagery, while Nand was in charge of the fine brushwork, coloring, and details. Painted with opaque watercolors and gold on paper, this artwork is approximately 32.5 cm high and 20 cm wide and forms part of the collection of the Victoria and Albert Museum, London, which purchased it in 1896 from the wife of Major General John Clarke. The artistic technique of this folio is a blending of Persian aesthetics and Indian naturalism. The verticality and multi-layered perspective of the work create a complex narrative filled with action and interest. The centre of the panel is occupied by the figure of Akbar dressed in blue and yellow, making gestures of prayer and thanksgiving. The image is filled with a large crowd of courtiers, soldiers and servants, while boats, canopies and flags add to the background. Besides the notion of art, this folio has a powerful ideological meaning. By showing the connection between the military victories of the Mughal emperor and Akbar’s pious and humble attitude (depicting him as a truly divine ruler, who was able to establish the central authority of the Mughal Empire).