Akbar Watching a Fight Between Elephants Near Malwa
| Support Type: | Paper |
| Paint Type: | Gouache |
| Current Location: | Victoria and Albert Museum (V&A) |
| Location History: | The Akbarnama, or "Book of Akbar", was commissioned by the emperor Akbar as the official chronicle of his reign. It was written by 1590 and 1596 and is thought to have been illustrated between ca. 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 (r.1605-1627) and later Shah Jahan (r.1628-1658). The Victoria and Albert Museum purchased it in 1896 from Mrs. Frances Clarke, the widow of Major General John Clarke, an official who had been the Commissioner in Oudh province between 1858 and 1862. Historical significance: It is thought to be the first illustrated copy of the Akbarnama. It drew upon the expertise of some of the best royal painters of the time, many of whom receive special mention by Abu'l Fazl in the A'in-i-Akbari, the third volume of the Akbarnama. The inscriptions in red ink on the bottom of the paintings refer to the artists and indicate that this was a royal copy. Purchased from Mrs. Clarke, The Dingle, Sydenham Hill, S. E. This acquisition information reflects that found in the Museum records (Asia Department registers and/or Central Inventory) as part of a 2023 provenance research project. |
The painting is a visual statement about Akbar’s imperial power and his ability to control forces that appear wild and uncontrollable. The violent struggle between the elephants represents raw strength, conflict, and unpredictability, while Akbar’s position as an observer suggests a ruler who remains composed in the presence of danger. The scene therefore goes beyond the depiction of royal entertainment: it presents an ideal of kingship in which courage, authority, and self-control are essential qualities. The elephants may also symbolize the challenges faced by an expanding empire, implying that even the most powerful forces can be confronted under strong leadership. The crowded landscape and movement create a sense of instability, contrasting with the emperor’s central role as the figure around whom order is ultimately established. In this sense, the painting celebrates Akbar not simply as a spectator, but as a powerful sovereign capable of mastering chaos and commanding respect.