“Pied Hornbill (Anthracoceros malabaricus)” is a painting from the Impey album, done by the illustrious artist, Shaikh Zainuddin. The work is a depiction of a large Pied Hornbill, a bird who often appears in Mughal and Colonial period works of Natural art. The bird is perched on a branch that is coming out of a tree stump. A flowering creeper is seen around the tree stump, with the red flowers on the plant adding to the overall beauty of the work. The work is overall notably similar to European natural history illustrations that Zainuddin may have seen in the Impeys’ library. Thus, we see in this work a striking example of the Natural art of ‘Company Paintings’, that blended Mughal Naturalism with European minimalism, removing the extravagant borders and scenes, while still keeping the soft colours and linework that made Mughal paintings so pleasing to the eye.
The work was done by Shaikh Zainuddin, an artist who was known for his Naturalist art of Flora and Fauna. Zainuddin was originally from Patna, and was brought to Calcutta by Mary Impey, the natural historian and wife of Elijah Impey, the first Chief Justice of the Supreme Court at Calcutta. He was brought alongside 2 other painters in order to paint Mary Impey’s menagerie of Indian and South East Asian birds and animals, and became the foremost painter in their retinue.
To me, Shaikh Zainuddin’s rendition of the Pied Hornbill feels like a poignant cross-cultural dialogue frozen in time, capturing a moment where scientific realism and artistic soulfulness gracefully intersect. By stripping away the lavish decorative borders typical of traditional Mughal miniatures and placing the majestic bird on a simple stump entwined with vibrant red creeper flowers, Zainuddin transforms a routine natural history study into an intimate portrait of quiet dignity. It reflects not just an empirical document of exotic fauna for a colonial patron, but a subtle fusion of worlds where the precise, observational curiosity of Enlightenment Europe meets the soft, reverent sensitivity of Indian brushwork. In its stark yet tender composition, the artwork communicates a profound respect for the living world, reminding us that true understanding of nature requires both the empirical clarity of the mind and the aesthetic empathy of the human eye.
