Current Location: Victoria and Albert Museum, London, United Kingdom
Location History:
Created in the imperial Mughal workshop in Agra/Lahore during the late 16th century, this folio remained within the imperial Mughal royal library through the reigns of Jahangir and Shah Jahan. During the 19th century, it was acquired in India by Major General John Clarke while serving as Commissioner of Oudh between 1858 and 1862. In 1896, the manuscript page was purchased by the Victoria and Albert Museum from Major General Clarke's widow, Frances Clarke.
In 1565, during the ninth year of Akbar's reign, a severe crisis threatened Mughal authority from within. Asaf Khan, governor of Kara and commander of the imperial forces that had recently subjugated Garha, chose to conceal the immense spoils of war—including gold, jewels, and hundreds of war elephants—rather than turning them over to the royal treasury. Realizing that his insubordination would draw immediate retaliation, he gathered his loyal soldiers and attempted to slip across the Ganges under cover of darkness. Emperor Akbar immediately alerted General Shuja'at Khan, ordering him to pursue and apprehend the rebellious governor.
This miniature painting captures the dynamic moment when imperial forces ambushed the deserters in transit. The artist divided the scene with a heavy, surging body of dark water, representing the Ganges. Arrows fly across the current, while floating helmets, shields, and struggling swimmers mark the heavy toll of the engagement. Heavy wooden boats—some featuring carved beast heads at their prows and covered quarters for leadership—serve as unstable platforms for hand-to-hand combat. Soldiers exchange shots with matchlock muskets, draw composite bows, and jab lances at rival crews. Surrounding the riverbank are thick fortresses and stone ramparts where anxious civilians and guards watch the clash unfold from elevated balconies.
Commissioned between 1590 and 1595 for the earliest illustrated copy of the Akbarnama, the official chronicle written by court scholar Abu'l Fazl, the painting reflects the collaborative nature of the Mughal royal workshop. Fine red Persian inscriptions near the bottom margin explicitly attribute the compositional draft (tarh) to Tulsi the Elder, while the application of pigments, shading, and surface details (amal) was carried out by his colleague Jagjivan. Beyond serving as a historical record, the image functioned as political propaganda, sending a clear message across the empire regarding the swift consequences of defying Akbar's authority.
The painting presents the defeat of Asaf Khan’s rebellion as a dramatic demonstration of Mughal power under Akbar. The turbulent Ganges, crowded boats, flying arrows, firearms, and struggling soldiers create a strong sense of chaos and violence. Yet the carefully organized composition shows the imperial forces overcoming the rebels, suggesting that resistance to the emperor was ultimately futile. The fortified riverbanks and watching figures further emphasize that the event was not merely a battle but a public display of imperial authority. Through its detailed depiction of the conflict, the miniature transforms a historical episode into political propaganda, celebrating Akbar’s swift control and unquestioned sovereignty.
