Russian Academy of Sciences, Institute of Oriental Studies, St. Petersburg
Mīr Kalān Khān’s Hunting Antelopes at Night is a masterpiece created in 1734-5. It is a significant work of the 18th century that captures the spirit of an era of transition. The picture is unique in the history of Indian art. It was also the artist’s first work for Emperor Muhammad Shah in Delhi, which makes it an important reference point for examining his Mannerist style, as well as his dramatic turn at the new court. The image’s composition is drawn from the bold use of artificial lights and the strategic placement of objects in space. On the left side of the picture, a tribal Bhil couple is participating in the nocturnal hunt. The woman, who wears a leaf skirt, is holding a lighted lamp, which she uses to create an unusual effect of sharp spotlight beams, unrealistic for this setting, but very expressive in terms of modelling the figures of surprised sambars. Meanwhile, her companion is taking a deadly shot at the animals with a bow and arrow. Coming out from the shadows of the rocky promontory at the back of the scene, a group of Mughal huntsmen in colourful costumes, enhanced with golden highlights, forms a vivid contrast to the dark landscape. This contrast is symbolic, as it reflects the relationship between the ruling elite and the local tribes, who taught them the art of nocturnal hunting. Far from being a mere depiction of a sporting activity, the painting is replete with narrative subplots that serve to illustrate Mīr Kalān Khān’s virtuosity at depicting panoramic depth. Notably, the painter has integrated shadowy camps, marching troops, and assemblies of holy men into the distant background of the composition, creating a sense of an intricate spatial setting that extends deep into the horizon. In the foreground, a comedic genre scene of a doddery cook stirring a bubbling stew over an open fire unveils Mīr Kalān Khān’s ability to depict an amiable domesticity amid the opulence of the royal court. Thus, through his masterful use of moody colour palettes, a dramatic interplay of light sources, and an eclectic mix of stylistic devices, the painter manages to elevate a conventional royal theme into a most extraordinary and original vision.
This 18th-century Mughal miniature painting depicts a dramatic nocturnal royal hunt (shikar), a popular allegorical theme showcasing imperial authority over nature. On the right, a lavishly dressed prince on a white horse commands a dense entourage illuminated by torches (mashals). In sharp contrast, the foreground features indigenous Bhil hunters leading the pursuit. One uses a torch to mesmerize a herd of fleeing antelopes on the left, while another draws his bow.
