Dara Shikoh Hunting Nilgai
| Support Type: | Paper |
| Paint Type: | Watercolor |
| Current Location: | National Museum of Asian Art, Smithsonian Institution, Washington, D.C., USA |
| Location History: | Originally produced in India, probably at the Mughal court in Lahore during the reign of Shah Jahan. The painting is associated with the St. Petersburg Album and is now preserved in the National Museum of Asian Art, Smithsonian Institution, Washington, D.C. It entered the Smithsonian collection through purchase and was formerly associated with the Arthur M. Sackler Gallery. |
Dara Shikoh Hunting Nilgai is a Mughal miniature painting from around 1640, during the reign of Shah Jahan, attributed to Payag. This artwork depicts a hunting party of Prince Dara Shikoh, Shah Jahan’s eldest son, in the middle of a thickly wooded area. Dara is seen lying in wait behind some bushes armed with a matchlock. Other hunters and attendants are also depicted behind the foliage as they lure nilgais towards their prince. Therefore, the Mughal painting shows the preparations for hunting. A remarkable feature of this artwork is the depiction of the landscape, which takes up a large part of the painting. Painted flora is highly detailed and accurate in terms of species. Note also that the picture does not have a clear sky, which creates an effect of darkness and confinement. Various levels of vegetation depicted by the master overlap with the figures of people and animals, therefore, creating the illusion of depth. In addition, the relative scale of the figures in the miniature also helps to create this illusion. A similar effect is achieved through the use of shadows and lighting. The hunters are partially hidden in the shadows of the underbrush, while the open areas illuminated in lighter tones draw attention to specific animals and details. This division of the picture into lit and dark areas gives it a mysterious and secretive look, which is fitting given the scenario of hunting. Payag also used superimposition of images, scale differences, and detail to create a sense of volume and spatial arrangement. The image of a hunt is also appropriate in terms of the cultural significance of this activity. Hunting was considered a royal prerogative, a sign of power, and a way to demonstrate the ruler’s military skill and control of the empire’s resources. However, the Mughal paintings of the 17th century also reflect the rulers’ fascination with the manifestations of nature. Thus, Dara Shikoh Hunting Nilgai is a masterpiece that combines these two themes: the human control of animals and the art of depicting the natural world.
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