Babur supervising the laying out of the Garden of Fidelity

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.