Babur supervising the laying out of the Garden of Fidelity
| Support Type: | Paper |
| Paint Type: | Gouache |
| Current Location: | Victoria and Albert Museum, London (Museum Nos. IM.276-1913 & IM.276A-1913) |
| Location History: | S.A.A Rizvi, in Religious and Intellectual History of the Muslims in Akbar's Reign (Delhi, 1975, 220-221), notes: The Babur Nama, in Chaghta'i Turkish, a mine of information relating to Central Asia, Kabul and India, was of an absorbing interest for the Indian Timurids. The portions relating to the Indian period of Babur's autobiography had already been translated by his sadr, Zainu'd Din Khwafi, into Persian. In 994/1584 Mirza Payandah Hasan Ghaznavi commenced its translation at the insistence of Bihruz Khan (who was afterwards given the title of Naurang Khan by Akbar and died as a governor of Junahgarh in 1002/1593-94), but he could not translate the account beyond the first sixth and a part of the seventh year. Subsequently one Muhammad Quli Mughal HIsari continued the work and brought it down to 935/1528-29. Akbar ordered Mirza 'Abdu'r Rahim Khan-i Khanan to translate it again and he completed the work in 998/1589. He presented his translation to the Emperor as he was returning from Kabul on 24 November 1589. The Khan-i Khanan excelled all the previous translators. Purchased from Messrs luzac & Co., 46 Great Russell Street. 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. |
Dating back to around 1590 CE during the reign of Emperor Akbar, this masterpiece was created as an imperial double-page illustration that was probably part of a manuscript of the Baburnama, the autobiographical writings of Babur, the founder of the Mughal Empire. The artwork was produced with the cooperation of two of the noted Mughal court masters - Nanha, who was known for his expert portrait and character studies, and his talented nephew Bishandas, who was responsible for conducting the composition, color and drawing of the rest of the people and the environment. This painting shows Emperor Babur supervising the establishment and geometric layout of the Bagh-e Vafa (Garden of Fidelity), which is in the vicinity of Kabul, Afghanistan, nowadays. The folio, which is executed in opaque watercolor and gold on paper exhibits the features of naturalism and architectural precision typical for works produced in the royal studio of Akbar. Emperor Babur is depicted in the center of the painting in royal robes while he is holding a layout or manuscript and directing the work of his architects, stone masons, and workers. Outside the main entrance, royal servants keep an eye on the emperor's decorated horse and take care of organization, enriching the scene with depth and story development. However, besides the visual complexity, the folio carries a political and symbolical message. The appearance of a Persian garden in rough terrain symbolizes the power of the emperor to bring order and civilization to nature. The rivers and fruit trees are used specifically to bring to mind the Russian word "Jannat," which corresponds with Paradise in Islamic literature and underlines the divine right of the monarchy. In the folio, emperor Babur can be seen supervising the physical labor involved in the construction and geometric layout of the Bagh-e Vafa (Garden of Fidelity) village near Kabul. The painting showcases the Chahar Bagh design, an architectural style derived from the ancient Persian tradition. Here, we see workers in the garden and stonemasons who are using a plumb line to measure the plots of land in order to create perfect symmetry for there planned Chahar Bagh garden. The outer-most wall of this garden is made of red sandstone and is decorated with pomegranate and orange trees and canals, which are meant to denote a paradise-like state of the gardens. Outside the main gate of the garden, we can see the royal assistants waiting with the emperor’s horse. The folio was done in opaque watercolor and gold on paper, which was a typical style for this period, and the technique demonstrates a combination of architectural precision, character study and realistic detailing of nature in the painting.