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 “Akbar Watching a Fight Between Elephants Near Malwa” presents more than just a dramatic scene from Akbar’s expedition. The fighting elephants immediately draw the viewer’s attention because of their movement, strength, and sense of danger. In contrast, Akbar is shown calmly observing the scene from above, accompanied by his attendants. This positioning makes him appear composed and in control even when surrounded by chaos. The dense forests, hills, rocks, dust and energetic movement of the elephants create a lively atmosphere and make the event feel almost like it is unfolding before our eyes. The detailed treatment of nature also reflects the growing interest of Mughal artists in creating a more convincing sense of space and environment. At a deeper level, the painting can be understood as a visual statement about Akbar’s authority and courage. The wild elephant represents uncontrolled natural power, while Akbar’s presence suggests the ability of the emperor to confront and master such forces. His elevated position and royal attendants further distinguish him from the activity below, reinforcing his status as the central figure of power. At the same time, the painting does not make Akbar appear distant; instead, his willingness to witness such a dangerous event presents him as an adventurous and fearless ruler. Thus, the scene combines history, spectacle and imperial symbolism, portraying Akbar as a ruler whose authority extends beyond his kingdom to the natural world itself.