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Babur arrives to supervise the laying out of the Garden of Fidelity, Bishndas and Nanha, c. 1590,
Mughal Empire, watercolor and gold on paper, 22.2 cm high (Victoria & Albert Museum, London)

The Baburnama—the personal memoirs of Babur, founder of the Mughal Empire (who ruled 1526-30 C.E.)—
recounts the process of laying out the Bagh-i-Wafa (Garden of Fidelity), the first garden that Babur commissioned.
This painted manuscript was created for Babur’s grandson, Emperor Akbar (ruled 1556 – 1605 C.E.).

Babur was very interested in gardens, which in the Indo-Persian tradition were carefully designed with both spiritual
and aesthetic intent, and he focused his artistic patronage on their creation.

Babur was particularly fond of the chār-bāgh—a garden divided into four by water channels. After conquering Kabul
(in modern-day Afghanistan), he built numerous gardens there, as well as throughout his territory, which included
northern India. These gardens were not only pleasurable; they were built to house pleasurable activities, including
parties, dinners, and poetry readings.

In the image of the laying out of the Kabul garden, we see Babur at the far right, clothed in flowing yellow robes and
a white turban, overseeing the planting. In front of him, just behind a water basin, the architect holds up the grid plan
for the garden.
This suggests the highly organized and rational nature of the garden, echoed in the raised planting beds before him.
The architect turns to look at Babur, who in turn looks down toward the plantings at his feet.

On the left, we see the outside of the walls of the garden, where the natural landscape provides a strong contrast.
In the upper/ left are a series of craggy mountains, inhabited by animals. Scraggly trees rise out of the barren rock,
whereas within the garden, trees hang heavy with yellow fruits that echo the robes of Babur, suggesting that his
wealth and bounty is the source of the garden’s fertility.
Babur wrote critically of the disordered landscape of the region, and his formal gardens may have been a response
to this perceived chaos. In place of asymmetry and organic shapes, his garden is depicted as a symmetrical
arrangement of rectangular planting beds.
Celebrations in honour of the birth of Humayun in the Chahar Bagh of Kabul (1508), Tuzuk-i Baburi
(the Memoirs of Babur), translated from the Turki original by Mirza Abdul Rahim, Khan-i khanan,
ca. 1590, Mughal Empire, opaque watercolour on paper (The British Library)

Babur reclines beneath a tree, seated on an ornate carpet laid with dishes. He is fanned by one servant
and offered more refreshment by others.

Musicians play and dancers twirl around a fountain. Filling all available space between the figures are the
plants and flowers of the garden. This is a beautiful and lavish image, dominated by rich, saturated colors,
evoking the pleasurable paradise of the gardens.
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'Princes of the House of Timur' - Abdus Samad
'Akbar presenting a miniature to his Father’ - Abdus Samad
'Hindal presents a portrait of Akbar to Humayun' - Dust Muhammad
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‘Umar Defeats a Dragon’ - From the Hamzanama : Daswanth. The painting depicts a
devoted spy named Umar hired by Hamza slaying a dragon.
‘The Parrot addresses Khojasta’, a scene from the Tutinama (1556–1565) painting
‘Emperor Akbar on a hunt’: from the Akbarnama
‘Arjun hits the target’: Daswanth, described by Abul Fazl as the greatest Indian painter in Akbar's
court, depicts in Persian style a scene from the pre-Islamic Indian epic, the Mahabharata
‘The Traveller Rescues Snake from Fire’: The Anwar-i-Suhaili, written by Hussain Ali Waiz, is a
Persian version of the Panchatantra.
‘Fisherman Catches an Exceptional Fish’: from the Anwar-i-Suhaili
A Scene from the Tarikh-i Alfi (History of a Thousand), commissioned by Akbar to commemorate
the first millennium of the establishment of Islam.
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 Jahangir
Peak of Mughal Painting

Persian and Indian art became fully synthesised

New elements emerged in Mughal painting

European in uence became predominant

Focus shifted away from book illustrations

Peak of Mughal portraiture

Scenes from nature were richly depicted

Popular/Provincial Mughal school of painting emerged

New elements under Jahangir

Naturalism and Idealism became the hallmarks of Jahangiri art.

Human emotions such as joy, sadness, anxiety, anger, contentment were vividly
captured.

Use of ner brushwork and lighter colours was started.

Hashi’a art: the broad border (Hashi’a) of miniatures was heavily ornamented with
arabesque, vines, owers, birds and animals. It emerged as an art form in its own
right.

Nim Qalam (half-pen) technique, characterized by the use of ink outlines and subtly
modulated tonal washes accentuated with highlights in color and gold, gained
prominence.
European elements

Closer contact with Europeans such as traders, ambassadors and Christian

missionaries led to the introduction of European in uence in painting.

Single point perspective

Halo, roaring clouds, ‘Putti’ and European clothes in paintings.

Jahangir received gifts of European engravings and miniatures including portraits of

kings and queens and Christian religious art. Many such originals were collected and
multiple copies were made. Often, foreign themes were reinterpreted by Indian masters
and executed using Indian techniques.

Thomas Roe has praised the quality of Indian painters and their skill in reproducing the
works of European masters.
Book illustrations

Instead of creating original works, Jahangir mostly added new paintings to

existing works. However, some magni cent original works were created.

Ayar i Danish - book of animal fables

Anwar i Sunavli - book of fables

Tuzuk i Jahangiri - Jahangir’s autobiography

Baburnama - Babur’s autobiography

Of these, the Ayar i Danish was the most remarkable for its paintings of
animals and birds.
Portraits

Portrait painting reached new heights under Jahangir.

Themes: Emperor, Empress, nobles, Fakirs, Su saints, Hindu gurus, dancers, soldiers, lovers
and artists were commissioned in large numbers.

The important events of Jahangir’s reign were also painted, such as:

Coronation Durbar

Jharokha Darshan

Tuladan ceremony on his birthday

Festivals such as Holi and Nauroz

Abul Hasan (Nadir uz Zama) and Bishandas were the master of portraiture.
Paintings of natural scenery, birds, animals, fruits and owers.

Jahangir was a keen naturalist.

He commissioned folios of all the exotic ora and fauna he came across.

The most famous paintings in this genre include those of a Zebra, Turkey,
Slender Loris and Siberian Crane, Bengal Florican, Dodo and Falcon.

Nature was also incorporated in portraits through the inclusion of natural

background and animals in them.

Ustad Mansur (Nadir us Asr) was the leading painter of this genre.
Popular/Provincial Mughal school of painting

Following the example of the Mughal Emperor the courtiers and the provincial
o cers also patronised painting.

But the artists available to them were of inferior merit. The works of such painters
are styled as "Popular Mughal" or 'Provincial Mughal' painting.

This style of painting has all same characteristics as the Imperial Mughal painting
but is inferior in quality.

Razm-nama dated 1616.

Rasikapriya (1610-1615).

Ramayana of circa 1610.

Important painters

Aqa Riza Manohar Inayat

Ustad Mansur Balchand

Abul Hasan Mukhlis

Bishandas Daulat

Govardhan Bhim
 Shah Jahan
Shah Jahan’s period witnessed stagnation and gradual decline in Mughal Painting

Changes:

Use of pencil instead of charcoal for sketching

The use of gold and silver was encouraged

Painters sought to capture the splendour and glory of the Mughals through painting

Themes of his period include:

musical parties; lovers, sometimes in intimate positions, on terraces and gardens; and
ascetics gathered around a re; superimposition of animals and the scenes of
performing acrobats.
Famous works include:

Padshahnama

Gulistan and Bustan of Sa’di

Shah Jahan on the globe

Important painters

Bichiter Mohammed Nadir of Samarquand

Chaitaraman Inayat

Anup Chattar Makr

Reasons for decline

Shah Jahan did not neglect the painting, but he lacked Jahangir’s aesthetic
sense in this eld. Further, he was more interested in architecture. Thus,
Mughal painting gradually became cold and rigid.

The focus was on showcasing royal splendour and might, thus neglecting
emotion, reality and nature.

The superimposing of faces and gures on existing works became a

common practice. Thus, these paintings lacked cohesiveness.

There was a profusion of court scenes with the overuse of bright colours
and gold for decoration.
 Aurangzeb
Aurangzeb dismissed the Mughal atelier and shut down the department of
painting. He also defaced and whitewashed the wall paintings of Akbar’s
period.

This was a result of his religious orthodoxy and the political constraints of his
reign.

Following the loss of royal patronage, Mughal painters migrated to the Rajput
states of Rajasthan and Jammu, resulting in the emergence of the Rajasthan
and Pahari schools of painting.

Apart from this, many Mughal painters received patronage under Mughal
courtiers and governors. This led to the growth of the Popular Mughal school.
 Questions
1. Which of the following statements is not true about Mughal Paintings under Shah
Jahan.

1. He discouraged the use of pencil for sketching and encouraged charcoal.

2. He encouraged the use of gold and silver in his paintings.
3. Human emotion has been captured vividly, giving a life like quality to these
paintings.

Choose the correct option from the codes given below.

(a) 1 only
(b) 3 only
(c) 1 and 3 only
(d) 2 and 3 only
2. In the context of Mughal paintings, the term ‘Nim Qalam’ refers to:

(a) The art of decorating the borders around miniatures with intricate designs
of arabesque, vines, owers, birds and animals.
(b) Treating the painting with neem extract to preserve it against pests.
(c) A technique involving the use of ink for drawing the outlines of gures,
painting over it with diluted colour and highlighting important elements with
bright colours and gold.
(d) None of the above
3. Which of the following was not an in uence of European painting on
Mughal painting.

(a) The use of three dimensionality

(b) The use of single point perspective
(c) Beginning of oil paintings by Mughal painters
(d) Introduction of elements such as ‘Putti’
4. The Popular Mughal school of painting refers to

(a) Art patronised by the common people during the Mughal period
(b) Mughal art of comparatively inferior quality patronised by Mughal
courtiers and provincial o cers
(c) Mughal art based of popular themes and common life
(d) All of the above