Babur meeting the Khurasan Mirzas
| Support Type: | Paper |
| Paint Type: | Watercolor |
| Current Location: | Victoria and Albert Museum (V&A) in London, United Kingdom |
| 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. |
Looking at the painting, you are instantly drawn right into this lively gathering happening inside a bright, grand tent. It is a scene painted by Ismail Kashmiri, showing a moment from the Baburnama where Babur is meeting with the Khurasan Mirzas. There is a real warmth to how the scene flows, almost like you've just walked into the middle of an important but relaxed conversation. Right in the center, underneath a big reddish-orange canopy with a decorated, patterned border, a group of royal figures are sitting cross-legged on an incredibly detailed, dark floral carpet. They are dressed in these beautiful, soft-colored robes, blues, oranges, and deep reds each wearing a neatly wound white turban. You can almost feel the gentle rhythm of their talk as they lean towards each other. Behind them stands a row of attendants and musicians holding long stringed instruments, ready to play, while another servant nearby holds a hunting falcon on his wrist. It is a busy scene, but it doesn't feel messy at all. Down in the front corner, someone is leaning forward to offer a tray of food or maybe gifts to the seated rulers. What makes it feel so alive are the little, natural imperfections in how it is put together. The perspective is a bit flat, like old paintings usually are, so the rocky, bare hills in the background look like they are sitting right on top of the tent roof rather than far away. The green grass at the bottom has faded or worn away unevenly over time, making the ground look a bit blotchy. Down at the very bottom edge, outside the tent, a line of guards and onlookers stand around, gesturing and talking among themselves, adding a bit of everyday chatter to the royal event. The whole painting has this lovely, continuous movement, where your eyes wander from the musicians to the kings, then down to the guards, capturing a real, breathing moment from history.