Image source: commons.wikimedia.org
The Wounding of Khan Kilan by a Rajput during his March
Artist:Sarwan
| 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. |
This miniature vividly depicts the sudden attack on Mughal commander Khan Kilan during Akbar’s Gujarat campaign. Attributed collaboratively to Miskina and Sarwan, the crowded composition, vivid colours, overlapping figures and directional movement create dramatic tension. The painting transforms a historical incident into a dynamic narrative of attack, response and retaliation.
Information Compiled by
Sayani Das