Created with opaque watercolor and gold on paper and featured in the Akbarnama, the artwork portrays the celebrations upon Akbar's return to Fatehpur Sikri after his triumph in Gujarat. The inscriptions in red ink at the bottom of the paintings identify the artist.
The Museum acquired it in 1896 from Major General John Clarke's widow. He served as Commissioner of Oudh, India, from 1858 to 1862.
This artwork depicts the celebrations upon Akbar's arrival in Fatehpur Sikri after his triumph in Gujarat. In the foreground of the image, a couple of elephants is visible. At the rear of the image, two elephants create a grand arch over a doorway. The picture features a strip of text that stretches from the right margin. This artwork is thought to have been created around
The painting is a blend between Persian miniature traditions and emerging Indian artistic elements. The paintings are densely populated with manuscript symbolising how it is an integration between an important historical document and art. The illustrations operate as a curated visual statement to construct an idealised image of kingship and consolidating Akbar’s political legitimacy. The elephants are used as a symbol of strength. The manuscript written by historian Abu’l-Fazl is divided into three parts Akbars Volume 1-Genealogy and early history, Volume 2-Akbar’s reign and Volume 3-Ain-i-Akbari, the manuscript was not written for the general public but for administrators, future historians and the elites. The visuals were meant as a constructed narrative to shape how Akbar was perceived as a ruler by his people.
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By: Indira Tiwari
Akbar's Reign
This painting, currently in the collection of the Victoria and Albert Museum, represents a scene of royal life, belonging to the tradition of illustrated manuscripts produced under the patronage of the Mughal ruler Akbar. This painting by Kesav Kalan and Jagjivan is an illustration found in Akbarnama, the official history of the reign of Akbar written by his court historian Abu'l Fazal. It was acquired by the Victoria and Albert Museum in 1896 from the widow of Major General John Clarke. Clarke had earlier served as the Commissioner of Oudh in India between 1858 and 1862.
Painted in opaque watercolour and gold on paper, it illustrates the celebrations marking Emperor Akbar’s return to Fatehpur Sikri after his victory in Gujarat. This painting involves movement within the palace complex with richly decorated elephants, attendants, and officials carefully arranged. Such imagery reflects the grandeur of the Mughal court, with India being called the "Golden Bird."
A Persian text written in the Nastaliq script, the official literary style of the Mughal court can be seen in the painting. The Akbarnama is written in Persian, highlighting the strong cultural and administrative influence of Persian traditions in Akbar’s empire. Besides being historically important, the painting stands out for its stunning beauty and artistic refinement.
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By: Tanisha Sharma
This seems to depict a grand welcome of the Army when they have returned from the battle field and while entering the fort
