Babur’s second raid on the Hazaras (1507)

Crafted at the peak of the Akbar-time Imperial Atelier, this folio embodies extraordinary artistic depth while epitomizing the unique combination of Persian style with indigenous Indian naturalism. Banwari Khurd skillfully manipulates natural elements to depict the rugged and severe Central Asian terrain. The design of the miniature revolves around powerful vertical and diagonal forces: the steep rocky mountain ridges, as well as chaotic rock masses depict the battlefield. Small clumps of scrub and little vegetation make the rocky surface lively, which contributes to the feeling of frozen wilderness. In the midst of this cold landscape, the imperial cavalry moves rapidly. The horses and riders are portrayed according to strict intricacies of imperial portraits, showing bright armors, flags fluttering in the wind, and expressive gestures of urgency. The contrast between the disorder in action and stillness of rocks indicates the capacity of the atelier for display of narrative accuracy and atmospheric realism. Written in the Baburnama is the history of an event that had occurred during the harsh winters of 1506-1507. After capturing Kabul in 1504, Zahir-ud-din Muhammad Babur encountered a multitude of obstacles related to his attempts at revenue collection due to constant rebellions from his semi-nomadic enemies, the Hazara tribesmen, who inhabited the dangerous, mountainous regions of the Hindu Kush. The second raid against the Hazaras was a significant punitive and administrative mission. The tribesmen were good in using their knowledge of the complex and snow-clogged mountain paths to interrupt Babur’s supplies and control over Timurid authority in the area. The purpose of this campaign was to destroy the resistance, obtain tributes such as sheep, horses, food supply, and establish ruling over strategic routes to Kabul. The political significance of these hard early campaigns can also be evaluated against the background of the Mughal imperial era under Akbar since the description of these campaigns was aimed at legitimizing the Mughal power by presenting the hero’s traits of its founder. This artwork can be credited to Banwari Khurd, an accomplished artist who operated in the royal karkhana (workshop) of Emperor Akbar. The illustration of manuscripts was an elaborate team effort during the reign of Akbar, where master artists would undertake the work in parts; while some would concentrate on the design (tarh), others would do the painting and detailing (amal). The painting demonstrates the mature Mughal style of Akbar's time, which combined traditional elements of Persian miniature painting (like the high horizon and complex patterns) and a greater commitment to realistic representation in motion, human appearance, and emotion. The jagged and multi-colored rocks and stylized hills reveal the Persian origin of this style modified by Mughal painters to represent the spectacular scenery of Central Asia. The illustration is full of life and activity, showing horse soldiers in armor charging forward, foot soldiers with bows and matchlocks and musicians playing war drums (naqqara) to support their army.