Babur receives a courtier

Farukh Beg ‘Musavvir’, a Persian artist who worked in the court of Muhammad Hakim of Kabul, joined Akbar’s imperial atelier following his patron’s death in 1585. His work reflects a synthesis of the refined Safavid painting tradition with the emerging Mughal miniature style. He began his career by contributing to the illustrated manuscript of poet Jami’s Haft Awrang, reflecting his early association with the Safavid school. Later, at Akbar’s court, he worked on several Mughal manuscripts, including Baburnama, Akbar Nama, Timurnama, and Khamsa of Nizami. However, some scholars suggest that he later moved to the Bijapur court, though there is insufficient evidence to confirm this. In 1609, he rejoined the Mughal court under Jahangir and earned the title of az bi badalan-i asr (unrivalled in the age). This painting offers a nuanced understanding of palace life during the Mughal period. The Safavid school prefers long and thin figures, whereas Mughal painting depicts fuller, more fleshy forms with thin shading, reflecting the Indian trend. It beautifully combines both styles. Some figures in the painting have rounded, idealised faces, while others, such as the man in the black robe seated to Babur’s left, have softly modelled and expressive faces typical of Akbar’s court. His work extensively employs flat geometric patterns, while intricate scrollwork fills the remaining spaces. One of the striking features of his work is the use of vibrant pigments, especially gold, which is characteristic of the Safavid school. Hence, the artist has captured a diplomatic encounter at Babur's court, where he had established his rule in Hindustan.