The painting is currently housed at the Victoria & Albert Museum,London,UK
Location History:
The painting was created in Agra somewhere between 1615-1618 (most likely 1618) and was brought to Victoria & Albert Museum,London,UK in 1921.
Nanha was an incredible illustrator in the court of Akbar,having made some illustartions in Akbarnama and later in Jahangir's court where he documented his artworks in Tuzuk-i-Jahangiri or Jahangirnama. He also worked in the court of Shah Jahan,his artistic career spanned approximately from 1582-1635. Nanha made his contributions in memoirs of Mughal emperors like Baburnama,Darabnama-a persian retelling of Alexander's love interests. Nanha's painting style were inspired by the Persian influences of the Timurid and Safavid traditions,whi h lay emphasis on detailed composition,intricate motifs and designs,use of gold and illustration in miniatures. Nanha blended Persian painting techniques with Indian painting techniques and style like incorporating Indian flora and fauna and Indian motifs.
This painting of Nanha portrays Maharana Amar Singh of Mewar submitting to Prince Khurram or Shah Jahan. In this illustration the Maharana bows down to Jahangir as a sign of accepting defeat with Prince Khurram placing his hand on Maharana's back. We can see the surrender taking place in a royal red tent with gold borders surrounded by hills. Prince Khurram is sitting with his head surrounded by a halo of royal dais while courtiers are standing barefoot. At the lower botton we can see a grey horse and an elephant which were given as gifts to Prince Khurram by Maharana Amar Singh.
Nanha has represented the figures with great elegance and restraint. Rich textiles,bedazzled robes,finely painted facial features and a careful placement of courtiers and attendants has added more beauty to the painting. The composition shows refined artistry,delicate use of brush strokes,rich colours and gold details which are the key characteristics of the Mughal artistic atelier. This painting records a powerful diplomatic moment from Shah Jahan's life and it also reflects Jahangir's interest in not just documenting political events but also a keen will to celebrate his son's accomplishment
Nanha's painting exhibits intricacy. The use of rich colours and fine details gives insight into the characteristic features of Mughal paintings. The description covers all necessary details associated with Nanha as an artist and this masterpiece by him, which offers a glimpse into the artistic endeavours reflected in medieval Indian paintings.
