Mughal painting

Mughal painting is a particular style of South Asian painting, generally confined tominiatures either as book illustrations or as single works to be kept in albums, which emerged from Persian miniature painting, with Indian Hindu, Jain, and Buddhist influences, and developed largely in the court of the Mughal Empire (16th - 19th centuries), and later spread to other Indian courts, both Muslim and Hindu, and later Sikh.

Origin

An art of painting developed as a blending of Persian and Indian ideas. There was already a Muslim tradition of miniature painting under the Sultanate of Delhi which the Mughals overthrew. Although the first surviving manuscripts are from Mandu in the years either side of 1500, there were very likely earlier ones which are either lost, or perhaps now attributed to southern Persia, as later manuscripts can be hard to distinguish from these by style alone, and some remain the subject of debate among specialists.By the time of the Mughal invasion, the tradition had abandoned the high viewpoint typical of the Persian style, and adopted a more realistic style for animals and plants.

No miniatures survive from the reign of the founder of the dynasty, Babur, nor does he mention commissioning any in his diaries, the Baburnama. Copies of this were illustrated by his descendents, Akbar in particular, with many portraits of the many new animals Babur encountered when he invaded India, which are carefully described. However some surviving un-illustrated manuscripts may have been commissioned by him, and he comments on the style of some famous past Persian masters. Some older illustrated manuscripts have his seal on them; the Mughals came from a long line stretching back to Timur and were fully assimilated into Persianate culture, and expected to patronize literature and the arts.

Mughal painting immediately took a much greater interest in realistic portraiture than was typical of Persian miniatures. Animals and plants were also more realistically shown. Although many classic works of Persian literature continued to be illustrated, as well as Indian works, the taste of the Mughal emperors for writing memoirs or diaries, begun by Babur, provided some of the most lavishly decorated texts, such as the Padshahnama genre of official histories. Subjects are rich in variety and include portraits, events and scenes from court life, wild life and hunting scenes, and illustrations of battles. The Persian tradition of richly decorated borders framing the central image was continued.

Development

Mughal painting developed and flourished during the reigns of Akbar, Shah Jahan andJahangir.During the reign of Humayun's son Akbar (r. 1556-1605), the imperial court, apart from being the centre of administrative authority to manage and rule the vast Mughal empire, also emerged as a centre of cultural excellence. Akbar inherited and expanded his father's library and atelier of court painters, and paid close personal attention to its output. He had studied painting in his youth under Abd as-Samad, though it is not clear how far these studies went.

Jahangir (1605–27) had an artistic inclination and during his reign Mughal painting developed further. Brushwork became finer and the colors lighter. Jahangir was also deeply influenced by European painting. During his reign he came into direct contact with the English Crown and was sent gifts of oil paintings, which included portraits of the King and Queen. He encouraged his royal atelier to take up the single point perspective favoured by European artists, unlike the flattened multi-layered style used in traditional miniatures. He particularly encouraged paintings depicting events of his own life, individual portraits, and studies of birds, flowers and animals. The Jahangirnama, written during his lifetime, which is a biographical account of Jahangir, has several paintings, including some unusual subjects such as the sexual union of a saint with a tigress, and fights between spiders.

During the reign of Shah Jahan (1628–58), Mughal paintings continued to develop, but they gradually became cold and rigid. Themes including musical parties; lovers, sometimes in intimate positions, on terraces and gardens; and ascetics gathered around a fire, abound in the Mughal paintings of this period.

Mughal Style Today

Mughal-style miniature paintings are still being created today by a small number of artists in Rajasthan concentrated mainly in Jaipur. Although many of these miniatures are skillful copies of the originals, some artists have produced modern works using classic methods with, at times, remarkable artistic effect.

The skills needed to produce these modern versions of Mughal miniatures are still passed on from generation to generation, although many artisans also employ dozens of workers, often painting under trying working conditions, to produce works sold under the signature of their modern masters. Rafi Uddin is the recipient of a large number of artistic honours from India over the last decades. His younger brother Saif Uddin, who ghost-painted for his famous brother for years, has since become the most recognized modern Mughal painter straying from traditional Indian scenes into more contemporary themes.

Other masters in Rajasthan include Kaluram Panchal, Ram Gopal Vijayvargiya, Ved Pal Sharma, Kailash Raj, Tilak Gitai, Gopal Kamawat, Mohammed Usman, Raja Babu Sharma and Mohammed Luqman, Kishan Mali Sharma and the Joshi family.