"Hamid Bhakari Punished by Akbar" (ca. 1604) is a Mughal miniature painting produced under the reign of the third Mughal emperor, Akbar. This was a part of the illustrated manuscript known as the Akbarnama, which recorded important events from Akbar's life and rule, and was written by Abu'l Fazl, one of the closest companions and official historian of the emperor. This particular painting is generally attributed to the artist Manohar, who was an important painter working in the imperial workshop. It was created during a time when Mughal art was developing into a strong and unique style, combining Persian traditions with Indian elements. Not to mention, this painting becomes important not only as a work of art, but also because it forms a visual record of a real historical event, that took place around 1567, that shaped the early years of Akbar's reign.
Hamid Bhakari was a man who had committed an offense against the court, by shooting an arrow at one of the emperor's servants. And as a humiliation for this act, he was stripped down to his underclothes and forced to ride backwards on a donkey, as punishment under the orders of Akbar, as it is depicted in the Akbarnama, specifically in a folio often attributed to the artist Manohar. This event itself becomes interesting because Akbar is often remembered as a fair and wise ruler. But this event reminds us that he was also strict when needed. It is also important to note that justice in those times was often public. Punishment was not just for the person who'd committed the crime, but it was also a means to send a message to other citizens and keep them in check. So, this scene becomes particularly important because it not only shows how law and order worked in the Mughal empire, but also make a point that even under a good ruler, punishment could be harsh if the accused showed any disobedience, giving us a real example of how power was used. In this way, this painting is not just a piece of art, it is also a record of history.
As for the painting itself, it was done by Manohar, who was one of the leading painters in Akbar's court, and also the son of another famous painter, Basawan. Manohar's style was usually known for his careful details and clear storytelling through his work. This painting becomes a clear example of that, and further falls under the Mughal miniature style of painting, which developed immensely during Akbar's reign. And the best part is how there is a really strong focus on the narrative here, where every element in the painting contributes to the story, whether it is the main action, the surrounding figures, or the background setting. If we look at influences, we'll find that this painting reflects a mix of Persian influence, through its fine detailing and surface decoration and also Indian elements, through it's focus on a real event and through its colors.
Coming to the subject matter of the painting, it shows the moment of action where Hamid Bhakari, the figure on the bottom left of the painting, is being punished in a public setting. He's stripped naked and seated in a very exposed position, which itself becomes important, because it shows both physical pain and also a kind of public shame which can be understood with how his head appears to be hung low in shame. His body appears weak and slightly bent forward, and this posture immediately separates him from all the other figures, who are either standing upright or actively moving, making him look even more vulnerable.
Right next to him, we can see a group of men surrounding him, some of whom are clearly involved in carrying out the punishment, while others seem to be observing it closely, even discussing among themselves. The expressions here become very important, because the men who are involved in the act appear serious and focused, almost as if they are just doing their duty, and there is no exaggeration or even anger in their faces, which relegates the whole incident to an official act, rather than something emotional. Whereas, the onlookers show a mix of reactions. Some seem curious, some attentive, and a few appear slightly distant, which suggests that such scenes may not have been completely unusual.
If we move slightly upward in the painting, we notice a very different kind of activity taking place. There is a hunting scene with animals running in different directions, including deer and other animals being chased. This part of the painting is full of movement, especially with the central figure on horseback, who is shown in a very active pose, leaning forward as the wolf-like animal jumps ahead, his sword gruesomely slashing at the animal’s skin.
This contrast becomes very interesting, because it almost divides the painting into two parts. The lower section feels quieter but serious, while the upper section feels active and energetic. At the same time, both are part of the same larger setting, which seems to be a royal camp, suggested by the tents and decorated structures in the background. On the right side, near the large red tent, we can see a group of important figures standing together. Their clothing is more elaborate, with rich colors and detailed patterns, which suggests that they belong to the court. Their posture is upright and composed, and they appear to be watching the events rather than taking part in them. This again creates a sense of hierarchy within the painting, where different groups of people are shown in different roles.
The tents themselves are also very detailed, with patterns and bright colors, especially red, green, and yellow, which even though adds to the richness of the scene, but more importantly can be taken as an identification marker that shows how this is a royal or a military camp. Even the animals are painted with a lot of attention, each one in a different kind of movement.
If we look more closely at the upper part of the painting, on the top left side, we find a very active hunting scene, where there is a cheetah being used for the hunt. This isn't something unnatural because in the Mughal period the royal court often used trained cheetahs for hunting. Akbar himself was especially very fond of the sport and reportedly owned up to 1,000 cheetahs. His son Jahangir noted that Akbar had 9,000 cheetahs in his lifetime. These cheetahs were apparently tamed for hunting, a practice known as coursing. They were treated with great care and often worn hoods to keep them calm until released to chase prey. Which is what we see here. At the same time, if we shift our attention to the top right side, we can notice that some animals have already been hunted. The painting does not separate these scenes with clear boundaries, yet the division is still very clear. This is another very common trait in Mughal miniatures where we can usually see the event and the outcome at the same time, on the same plane.
There can be countless of interpretations of this scene. One possible way to understand this is by looking at how both sections of the painting, even though they seem different, are actually connected through the idea of control and authority. The hunting scene above, where animals are being chased, captured, and killed, can be seen as a display of power over nature, and at the same time, the punishment scene below shows this same power being exercised over human beings. So, in a way, both parts appear to be reflecting the same idea, just applied differently.
If we think about it further, the animals in the upper section are shown running in fear, scattering in different directions, trying to escape. Their bodies are stretched out, mid-motion, which creates a strong sense of urgency and panic. And if we contrast it with the quiet condition of Hamid Bhakari below, who is no longer running, but has already been caught and subdued, then this contrast between movement above and stillness below becomes quite meaningful, where one shows the act of chasing, while the other shows the result of being caught. At the same time, if we look at the group of courtly figures standing near the red tent, we se that they're not directly involved in either the punishment or the hunt, but they are still watching. This further adds a sense of superiority and status, where this idea of power does not need to act physically, it simply exists.
Overall, when we put all of this together, the painting does not show just one story or simply the punishment against Hamid Bhakari, but actually reflects multiple layers of meanings. It shows action and result, power and submission, movement and stillness, all within the same frame, making this that much effective, where the artist is not simply illustrating an event, but is building a complete visual experience where different ideas exist together. In this way, the painting is so much more than just a historical record. It becomes instead, an incredible study of power, behaviour, and even human response, all expressed through the smallest of details, controlled composition, and clear storytelling.
