The folio was produced in Lahore in 1586. It was later removed from the first imperial copy of the Akbar Nama, now housed at the Victoria and Albert Museum in London. Signed by Dharm Das, the folio is currently held by the Los Angeles County Museum of Art (LACMA), Los Angeles.
Flight of Sultan Bahadur Shah during Humayun’s campaign in Gujarat,1535 was painted in 1586-87 by Dharm Das, a late-sixteenth-century artist working in Akbar’s taswir khana. The folio forms part of the richly illustrated Akbarnama, written by Abul Fazl. It portrays Humayun’s conquest of the fort of Cambay in Gujarat in 1535. Following Babur's death, Humayun inherited a politically unstable empire and faced considerable challenges in consolidating Mughal authority. His position was further weakened by the growing strength of the Afghans in eastern India, who posed a significant challenge to his rule. Through a series of military victories, Humayun initially strengthened his position in eastern India. However, his attention soon shifted towards Bahadur Shah of Gujarat, whose expansion posed a growing threat to the Mughals through his control of Mandu, alliances with Humayun’s rivals, Sher Shah and Nusrat Shah and the subjugation of the Rajput territories that had served as a shield between Malwa and the Mughal Empire. In 1533, Bahadur Shah left Mandu to confront the Portuguese threat at Diu, allowing Humayun to seize the opportunity and attack him at Cambay. This intervention, however, violated the peace treaty previously concluded between the two rulers. Against this historical backdrop, the painting, accompanied by its text, narrates the events of the Gujarat campaign. In the lower-left section of the painting, Humayun’s army of 3000 soldiers is shown entering the fort. The soldiers are depicted riding horses and camels. On the right, Humayun, recognisable by his feathered turban and golden chainmail armour, is shown leading the army. In the upper section, Humayun is also portrayed performing a heroic act as he attempts to control the fire in the fort. The public is left in a state of confusion and chaos as Bahadur Shah flees after his defeat. Hence, the painting presents Humayun not merely as a victorious ruler but as a protector of his people.
The painting portrays far more than a military victory. It contrasts Humayun’s leadership with Bahadur Shah’s retreat, presenting the Mughal emperor as both a successful commander and a compassionate ruler who attempts to protect civilians during the destruction of the fort. The crowded composition, flames, soldiers, and fleeing people vividly convey the chaos of war while also serving as imperial propaganda that reinforces the legitimacy, courage, and benevolence of Mughal rule. The artwork celebrates effective leadership and reminds viewers that the consequences of war extend beyond the battlefield to ordinary people.
