This illustration was originally part of a manuscript of the Baburnama (translated, under Akbar) created in the Mughal Empire around 1590. After being removed from the manuscript, it was sold on the London art market, where the museum acquired it in 1913 from Messrs. Luzac & Co. at 46 Great Russell Street.
The painting entitled "Babur's Army Capturing the Fort of Chanderi in 1528" was produced around 1590 and is part of the dispersed manuscript of the Baburnama (autobiographical accounts of Babur). The painting was commissioned by the third emperor of the Mughal Empire, Akbar (Babur's grandson), who asked for the translation of his grandfather's Turkish manuscript into Persian so as to integrate the Mughal heritage into Indian civilization because Persian was the court language at the time. Currently preserved at the Victoria and Albert Museum in London, the painting is considered an extremely significant episode in the military history of the Mughal Empire. The authorship of the painting is attributed to Mukund, an accomplished artist known for his skillful lines and mastery of presenting complex dynamic scenes, whose reputation was highly esteemed within the royal workshop (Ketab khana) of Emperor Akbar. Stylistically, this painting is the perfect representation of the Mughal style during the reign of Akbar, who was known for his restless energy and integration of many artistic styles, in which we see a blend of many cultures. For instance, the high bird's-eye perspective and the decorative, stylized treatment of the rocky landscape that appears in this painting, was really popular in the Persianate tradition of paintings; alongside, if we consider the realistic modelling of human figures and the sense of immediate physical struggle, then these are distinctly Indian, and unlike the static, expressionless figures of earlier Persian styles, the characters here exhibit panicked expressions and vigorous movement, further suggesting how the fusion between Indian and Persian elements allowed the Mughal atelier to move away from flat, decorative compositions toward a dynamic visual language that recorded historical events with greater realism. Here, Akbar's realism also becomes important if we look at how the painting prioritizes objectivity and truthfulness; rather than being a symbolic religious icon, it acts as a documentary record of a historical event. If we look at it historically, the battle portrayed in this painting is actually the Battle of Chanderi, which took place in January 1528 between Mughal Emperor Babur and the Rajput chief Medini Rai. In the wake of his success at Khanwa, Babur sought to conquer Chanderi, whose ruler, Medini Rai, posed a threat to Mughal supremacy by being a close ally of Rana Sanga, who had been defeated. Naturally, Babur had attempted to reach a peace agreement with Medini Rai, but he chose to resist, which is what led to a quick Mughal siege of the Chanderi Fort. This also becomes fascinating since Chanderi fort was an almost invincible fort on the hills, and in order to conquer it, the Mughal forces had accomplished the amazing task of constructing a path by breaking open rocks and moving heavy arms and ammunition to attack the fort. The battle was fierce and desperate and when the fort finally fell, historical accounts (and the Baburnama itself) record that the Rajput defenders performed "Jauhar" (ritual suicide), choosing death over surrender. It was this victory that effectively consolidated Mughal power in Central India. And this painting captures that final, chaotic surge where the momentum of the Mughal army finally overwhelms the defenders. If we now look at the composition, it is built around the sheer verticality of the fort's pale stone walls, emphasizing the height and difficulty of the terrain. Mukund fills the frame with a variety of weaponry. We can spot soldiers in clanking chainmail and bright tunics wielding curved talwars (swords), long spears, and shields, which also gives us an idea on the types of weapons the Mughals usually used. Then, in the foreground, the horses are rendered with a lot of detailing. They wear ornamental saddles and headgear, which signify the high status of their riders. Also, tiny details, such as the textured masonry of the arched gateway and the panicked faces of the Rajput defenders on the ramparts, add to this realism. Another interesting detail is that high above the chaos of the ramparts, a princess or royal woman is also depicted who is most likely watching the siege unfold, and this further adds a striking human element of tragedy and observation to the brutality of the conflict. And then we have the gruesome depictions of the killings itself, where it isn't just minimal wounds, dirt or bruises that are being depicted, but the actual splurting and dripping of blood from these open wounds, and a pile of bloodied and battered dead bodies. Another aspect of what makes this interesting is the fact that the Western concept of space isn't at all applicable here, and yet it becomes beautifully understandable and very easy to read as to what exactly is happening here. In contrast to the often expressionless faces in traditional Persian miniatures, Mukund here captures the vivid psychological state of the combatants, the determination of the invaders and the horror of the besieged perfectly. Symbolically, of course the painting is an assertion of Mughal inevitability. In making the viewer look down upon the battle scene from above the fortress, Mukund further ensures that the downfall of the fortress is inevitable. The natural tendency of the viewer’s eyes to look up from the battle scene to the fortress represents the growth of the Mughal dynasty over the local factions. Overall, this folio is not merely a record of a bloody capture; it is a carefully constructed image of imperial might. It demonstrates the artistic maturity of Akbar's atelier and serves as a testament to how the Mughals used high-quality art to shape their history and idealize their conquests for future generations.
This painting depicts Babur’s army capturing the fort of Chanderi in 1528, as detailed in Baburnama, the autobiography of Babur, which was commissioned by his grandson Akbar, the third Mughal emperor.
