Akbar Hunting Blackbuck

Taken from an illustration of the Akbarnama, the painting 'Akbar Hunting Blackbucks' done between 1592 and 1595, highlights the elite big game hunting, one of the central themes of Akbar's court culture and record-keeping. The entire composition of qamargah (royal hunting) is filled with movement, particularly as the blackbucks are being chased down by hunters. Emperor Akbar is shown as the main figure, emphasizing his significance and power, as he is surronded by people, animals and a detailed and busy landscape filled with horses, weapons and trees. From the active and busy scene, one can only imagine the adrenaline rush that kept the emperors of the time hooked to this sport. The artist uses opaque watercolour and gold on paper highlighting the richness and luxury associated with the Mughal darbar. One strinking feature of the Imperial Hunting scenes from Mughal paintings is the use of highly prized cheetahs (known as yuz in Persian) not as tragets of the hunt but as elite hunting companions. They played a massive role in court culture, particularly during the 49-year reign of Emperor Akbar. In this particular painting, the cheetah has been released from the empty bullock cart in the foreground and now brings down a fully grown male blackbuck. A second cheetah is still blindfolded and held by its keeper in the upper right of the composition. The painting represents more than a mere hunting scene. It represents Akbar's power, wealth and status. At the same time, the painting also shows how humans tries to control nature and animals. The Mughal emperors, including Akbar, used hunting as a special privelege to exercise their sovereignty not just over their subjects but over the natural world. The deeply poetic synchrony of man and beast locked in battle with each other, went beyond sport.