Image source: collections.vam.ac.uk
Baburnama illustration, depicting a prince and attendants under a shamiana (tent shelter)
Artist:Yaqub Kashmiri
| Support Type: | Paper |
| Paint Type: | Gouache |
| Current Location: | Victoria and Albert Museum (South Kensington, London, United Kingdom) |
| Location History: | Historical Context & Origin (c. 1589–1590): The illustration originates from the First Baburnama manuscript (also known as the South Kensington Baburnama). The Baburnama comprises the personal memoirs written in Chagatai Turkic by Zahir al-Din Muhammad Babur (1483–1530), the founder of the Mughal dynasty. In November 1589, Babur's grandson, the Mughal Emperor Akbar, had the memoirs translated into Persian by his nobleman Abd al-Rahim Khan-i-Khanan. Immediately after the translation was completed, Akbar commissioned his royal imperial workshop (kitabkhana) to produce this first lavishly illustrated manuscript, originally containing around 193 miniature paintings. Specific Narrative Scene: The illustration depicts a historical event from 1497 when a young Babur fell critically ill in Samarkand for four days and received envoys and attendants while lying weak on a carpet/platform beneath a temporary pavilion tent (shamiana). Below the main scene, two Persian text panels in Nasta'liq script describe the event, followed by a smaller attribution note identifying the artists involved in its composition and painting (composed by Ya'qub Kashmiri and painted by Na'il). Dispersal & Acquisition (1913): The original manuscript remained intact in the imperial library for centuries until it was broken up and dispersed for individual sale in Europe in 1913. Approximately 70 illustrations survived across worldwide public and private collections, with around 20 detached folios—including this page (IM.273-1913)—being acquired by the Victoria and Albert Museum in London in 1913. |
The painting by Yaqub Kashmiri is a fine example of Mughal miniature painting. It presents its subject with delicate lines, rich colours, and careful attention to detail. The figures are arranged clearly within the composition, while the surrounding setting adds depth and context to the scene. The artist uses graceful gestures, expressive faces, and detailed clothing to bring the figures to life. The painting reflects the refined artistic traditions of the Mughal court, particularly the Kashmiri influence visible in the sensitive treatment of forms and colours. Overall, its elegance, precision, and decorative quality demonstrate the sophistication of Mughal miniature painting.
Information Compiled by
ARNAV DEY
