Created in Lahore (present-day Pakistan) for the imperial Mughal court around 1596. It later entered private collections before being acquired by The Metropolitan Museum of Art in 1948 through the Francis M. Weld Gift.
This painting is an illustrated folio from the Chingiznama, a historical manuscript commissioned during the reign of Emperor Akbar. The scene portrays Tumanba Khan, regarded as an ancestor of Genghis Khan, seated beside his wife while their nine sons and members of the royal household gather around them. The composition presents an atmosphere of dignity and dynastic continuity rather than warfare, emphasizing family, authority, and succession.
The painting demonstrates the refined style of the Mughal imperial atelier. The figures are arranged carefully within an architectural setting decorated with carpets, textiles, and ornate furnishings. Every character is given an individual expression and posture, making the gathering appear lively and believable. Rich blue carpets, patterned cushions, gold ornamentation, and brightly coloured garments create visual harmony while highlighting the wealth and prestige of the royal family. Servants carrying trays and attendants standing respectfully around the rulers add movement and reinforce the ceremonial nature of the event.
Art historians attribute the design of this folio to Basawan, while Bhim Gujarati participated in its execution, reflecting the collaborative working method common in Akbar's workshop. The manuscript itself was created because the Mughal emperors traced part of their ancestry to Genghis Khan, making such historical narratives politically and culturally significant. The painting combines Persian manuscript traditions with the emerging naturalism of Mughal art, particularly in its attention to facial expressions, architectural depth, and realistic observation of people. Today, it is considered an important example of late sixteenth-century Mughal miniature painting and illustrates the high level of artistic collaboration achieved in Akbar's imperial studio.
The Mughal painting by Basawan during Akbar's reign is an incredible piece of art with an amalgamation of Indo-Persian style, where the facial expressions and minor detailing are very well highlighted covered in warm colours with a highly detailed work blue carpet with floral print and design over it. The painting also consists of Persian text mentioned in the painting in two paragraphs. The painting depicts a meeting and gathering which reflects power, succession and mutual respect by khans 9 sons and his ministers. This painting is itself a piece of master art by Basawan.
