The Wounding of Khan Kilan by a Rajput during his March
| Support Type: | Paper |
| Paint Type: | Watercolor |
| Current Location: | Victoria and Albert Museum (V&A), London |
| Location History: | The painting was originally part of the imperial Mughal manuscript of the Akbarnama, produced for the Mughal court during Akbar’s reign (1556–1605). It remained in the Mughal imperial library for an extended period. Although the manuscript lacks a traditional colophon, inscriptions and seals provide evidence of its provenance. A note dates its completion to Akbar’s 40th regnal year, around December 1595 to January 1596. After Akbar, the manuscript entered Jahangir’s collection, as indicated by an inscription recording his acquisition and describing it as valuable. Later, the seal of Aurangzeb, dated circa 1668–69, confirms the manuscript’s continued presence in the imperial library. Subsequently, the manuscript left the imperial library; seals from 1766 and 1794 identify the Nawab of Rampur as an owner, though its history after this point is unclear. The second volume, now held by the Victoria and Albert Museum, remained in India until acquired by Major General Clarke during his administration of Awadh (1858–1862). After Clarke’s death, his widow sold it to the museum in 1896. Initially, the museum misidentified the manuscript as an illustrated A'in-i Akbari. It was only in 1905, when historian Henry Beveridge studied the work, that it was correctly identified as an Akbarnama. The provenance chain, simplified, is as follows: Mughal imperial atelier → Mughal imperial library → Jahangir → Aurangzeb → Nawab of Rampur → Major General Clarke → Clarke’s widow → Victoria and Albert Museum (1896–present). Given gaps in documentation after its time in the Mughal library, the provenance should be described as documented but partially interrupted rather than continuous. |
The miniature illustrates a pivotal moment during the Mughal campaign in Gujarat (1572–73), as Emperor Akbar’s forces advanced through Rajput territory. Khan Kilan, a Mughal commander leading the vanguard, entered the region associated with Sirohi. A group of Rajputs, claiming to be envoys from their ruler Man Singh Deohra, suddenly attacked Khan Kilan, with one assailant stabbing him in the shoulder or collarbone. The artwork captures this violent incident and its immediate consequences. The composition is attributed to Miskina, a prominent painter in Akbar’s workshop, while the right section is credited to Sarwan, reflecting the collaborative nature of Mughal imperial paintings. The scene depicts a dynamic narrative, with Khan Kilan surrounded by soldiers and attendants, interrupted by the unexpected assault during what seemed a formal diplomatic meeting. This contrast creates dramatic tension. Features typical of mature Akbar-period painting are evident: a compressed pictorial space filled with numerous figures; brightly colored garments identifying individuals and groups; architectural and natural elements situating the scene geographically; and detailed depictions of horses, elephants, weapons, and costumes. Rather than a static historical record, Sarwan and Miskina’s work offers a vivid narrative, using crowded composition, gestures, overlapping figures, and directional movement to lead the viewer through the stages of attack, response, and retaliation.
Sources: