The V&A purchased the manuscript in 1896 from Frances Clarke, the widow of Major General John Clarke, who bought it in India while serving as Commissioner of Oudh between 1858 and 1862.
The Mughal style of painting emerged in India with the arrival of the Mughals and developed under their subsequent rulers. These paintings were mainly created as commissioned artwork for manuscript illustrations and miniatures. Many painters gained prominence during this time; one of them was Lal.
This painting, composed by Lal for the Akbarnama (book of Akbar), depicts the victory of the army led by Qutb ad-Din Khan and Azim Khan over the rebels Muhammad Husain Mirza and Sher Khan Fuladi at the Battle of Patan in Gujarat, north-west India, in 1572. Many Mughal soldiers can be seen riding on horseback, battling the rebels with bow and arrow in hand, along with spears and shields. The two leaders leading the army can be seen at the back, riding on elephants. Through the details in the artwork, the backdrop of the scene can be clearly understood.
There is a less-known secret to this painting. We are only seeing half of a much grander artistic vision. The work is not a single composition, but the left wing of a meticulously planned, two-page diptych. This grand design was masterminded by the court artist La'l, who created the overarching composition for a massive volume of the Akbarnama. Once La'l had completed the outline, the immense labor was divided: the left side you see here was finished by the artist Mani, while the right panel was painted by another artist named Dhanun.
This method of royal studio production has a profound effect on how the chaos of the 1572 Battle of Patan is perceived. Across the two panels, the landscape and sky seamlessly flow from one page to the next, creating an illusion of a single, sprawling battlefield viewed through a wide, panoramic window. The composition is a masterclass in controlled frenzy. There is no single focal point, forcing the eye to travel across the page and absorb the frantic, chaotic energy of the clash. Inscribed in red ink beneath the image are the names of its creators, "Tarh: La'l/amal: Mani" (composition by La'l, work by Mani), a proud signature confirming this as a prized imperial object made for Akbar himself. It is a magnificent testament not only to Mughal military might, but to the incredible collaborative power of Akbar's imperial workshop.
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By: Priyangana Saha
This painting represents Mughal miniature painting. Such images usually served as a folio in historical manuscripts such as the Akbarnama or the Baburnama. They were ordered by emperors to commemorate their victories, court scenes, and family traditions. Mughal painting has three major historical periods associated with particular emperors. It began in the time of Humayun; however, it flourished during the reign of Akbar, whose era can be seen as the golden age for this period. Under Akbar, the style was characterized by monumental manuscript works, including the Hamzanama. There are actually two compositions of this image. Both depict the Battle of Patan when the Mughal troops won in 1572. Contrary to the Western linear perspective, Mughal art uses the technique of "stacking." The composition includes cavalry, foot troops, and war elephants. The overlapping figures gives us a sense of motion and sound. Such images were designed to demonstrate the strength and legitimacy of the dynasty.
