Mughal and Deccani Miniature Paintings from a Private Collection

Author(s): Stuart C. Welch, Jr.

Source: Ars Orientalis , 1963, Vol. 5 (1963), pp. 221-233
Published by: Freer Gallery of Art, The Smithsonian Institution and Department of the
History of Art, University of Michigan

Stable URL: http://www.jstor.com/stable/4629190

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MUGHAL AND DECCANI MINIATURE PAINTINGS FROM A
PRIVATE COLLECTION 1 BY STUART C. WELCH, JR.

SINCE THE PUBLICATION HERE IN I959 OF CATALOGUE

a number of Mughal and Deccani paintings
i. Portrait of a Rajput. (Fig. i.) A stout
from two private collections shown at the
nobleman leans on his walking stick, his face
Fogg Art Museum of Harvard University,2
and body turned to the left as though standing
several miniatures have been added to one
before the enthroned emperor. As usual in
of the collections. These include two portraits
portraits of the Akbar period, the figure is set
of the Akbar period (i556-i605), a group
against a green background with no indica-
of early drawings, another page from a dis-
tions of actual space (the traces of grass and
persed Divdn of Shani of about I595, in the
flowers are the result of clumsy overpainting of
highly finished style of the imperial court, as
the green, most of which has been removed).
well as a series of pictures dating from the
He wears a crimson turban decorated with
reign of Jahangir (I605-27). A page from
green and white dots, a transparent though
the Raznameh of I6 I6, a manuscript associ-
pomade-stained muslin jdrneh, the seams of
ated with the Khan-e Khanan, is of particular
which follow his ample arms and massive
interest in relation to the art of Rajasthan.
torso, and a white pdijdmeh. Three archer's
Among the miniatures of the later I7th cen-
rings hang from a long gold, orange, green,
tury are two from an album of the Shah Jahan
and black flame-stitch patkJ which also sup-
epoch (I628-57) and an Awrangzib period
ports an orange pouch and a gold katar in
(I658-1707) conversation piece in the mixed
an orange sheath. Tassled orange shoes with
Mughal-Deccani style patronized by the Mu-
orange frogs, gold earrings, and a ruby ring
ghals who served in the Deccan. There are
complete the costume. The warrior's heavy
also several pictures of purely Deccani origin,
face is upturned, lending an expression of
one of which, although damaged, provides an
alertness. Slightly raised eyes, furrowed brow,
addition to the small corpus of early Bijapuri
a sharply bridged nose, and a smiling mouth
portraits. From a later phase comes a pleas-
tinted red with pin enliven the characteriza-
ing Todi Ragini, an illustration to the musical
tion. The subject of a late copy of a portrait
mode, imbued with the characteristics of the
of Raja Rai Singh of Bikaner (I57I-I6I2)
style of the court of the last of the Qutb
in the Bikaner collection closely resembles this
Shahi rulers, Abul Hasan (I672-87), who
Rajput, who might be the same personage.3
was known as Tana Shah, "The King of
The small, closely set feet of the warrior
Taste."
seem barely capable of supporting his looming
1The author would like to express his thanks bulk. This is characteristic of early Mughal
to Rai Krishnadasa of the Bharat Kala Bhavan, portraits, for it was not until the reign of
Banaras, Eric Schroeder of the Fogg Art Museum,
Jahangir that Mughal painters were able to
W. G. Archer of the Victoria and Albert Museum,
Martin Dickson of Princeton University, Jean WVat-
firmly ground their portrait subjects. The
son of the India Office Library, and to those whose costume is also consistent with an early date,
generous assistance has been cited in the catalogue. as is the treatment of the mouth and chin,
2 Vide S. C. Welch, Jr., Early Mughal miniature
paintings from two private collections shown at The 3Fide H. Goetz, The art and architecture of
Fogg art Museum, Ars Orientalis, vol. 3, 1959. Bikaner state, Oxford, I950, fig. 89.

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 222 STUART C. WELCH,
which are in profile despite the three-quarter
view of the face, a feature often seen in the
Ddstan-e Amir Iamzah manuscript.4
The formula for this sort of portrait was
developed during the Akbar period. Ivan
Stchoukine has identified a portrait now in
the Musee Guimet as contemporary with
the Hamzah manuscript, which was probably
worked on through the I570'S.5 This minia-
ture is identical in style to a group of illus-
trated Persian manuscripts several of which
contain colophons stating that they were writ-
ten at Bakharz in Khorassan during the i s6o's
and I57o's.6 A portrait of a Persian in this
style, which might have been introduced to
India by an artist or artists trained in Kho-
rassan, is in the Archaeological Museum,
Teheran.7 Although the Guimet and Teheran
examples are significant in helping to estab-
lish the provenance of this kind of portrait,
neither can be considered typically Mughal.
Notwithstanding its subject, the Guimet pic-
ture portrays a type rather than an individual
and lacks altogether the penetrating analysis
of form and personality which raises Mughal
4 Vide H. Gliuck, Die indischen Miniaturen des
Haemzae-Romanes, Wien, 1925, pls. 12, I4, i6, I9,
21, 26, 29, et al.
6 I. Stchoukine, Miniatures indiennes du Musee
du Louvre, Paris, 1929, No. i, pl. I.
8 Vide B. W. Robinson, A descriptive catalogue
of the Persian paintings in the Bodleian library, Ox-
ford, 1958, pp. I38, I4I-I42, I51, pl. 29; also,
I. Stchoukine, Les peintures des manuscrits Safavis,
Paris, I959, pp. I35-I37, pIS. 7I, 76.
7 Vide V. Kubickova, Persian miniatures, Lon-
don, I960, p. 39. Figures in Indian costume occur
often in miniatures of this group. A copy of Sana'is
Hadiqat al-Haqiqa dated I573 in the Boston Museum
of Fine Arts (09.324) depicts a mahout in Indian
costume with a composite elephant. A pair of lovers
with two attendants, all in Indian costumes, in this
style was published by Ph. W. Schulz, Die persisch-
islamische Miniaturmalerei, Lepizig, I9I4, pl. I36.
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JR.
portraiture to its high position in the world
history of the art.
i i.8 x o6.6 cm.
Ca. 1575.
2. A Master and His Pupil. (Fig. 2.)
An attentive boy kneels with his hands on his
knees before a bearded teacher, grasping a
book, who leans in sympathy toward the stu-
dent.8 The boy, whose jameh ties on the
left despite his Mughal features, wears a
turban wound of a narrow, tapelike length
adorned with a black plume and ropes of
pearls. A wide, fringed shawl is wrapped over
his shoulders and across his arms. The teach-
er's fur-trimmed coat is open at the waist,
revealing a short kamarband. His turban is
large and loosely tied, with ends that flare in
splayed flourishes akin to those of his long,
graceful scarf, which is draped over his shoul-
ders and forearms. The drawing is in black,
lightly tinted with flesh tones, streaks of gray
in the beard, and brown in the fur collar. It is
unusually calligraphic for Mughal work and
probably by an artist trained in Persia. Flow-
ing curved accents and a system of zigzags
meeting in hooklike forms suggest the style
of Aqa Riza Jahangiri, a painter who was in
India at least as early as I588/9, when his
son Abu'l Hasan was born.9
09.1 x 07.5 cm.
Ca. Is8s.
8 A number of variations on this subject are
known. Vide L. Hajek, Indian miniatures of the
Moghul school, London, I960, pls. 22, 33; also E.
Kiihnel and H. Goetz, Indische Buchmalereien, pI.
14. Here, the pupil is Prince Salim and the master
Shaikh Salim Chishti; also S. C. Welch, Jr., op. cit.,
fig. I3. This painting should be dated to ca. I570
on the basis of its stylistic relationship to the Anvdr-e
Sohayli manuscript in the School of Oriental and
African Studies, London, which is dated I570.
9 f/ide B. Gray, Painting, The Art of India and
Pakistan, ed. by Sir Leigh Ashton, London, I950,
p. 97; also Eric Schroeder, Persian miniatures in the
 MUGHAL AND DECCANI MINIATURE PAINTINGS 223

3. a Peasant Boy and an Jrmed Band. in front of whom a dog stares longingly at
(Fig. 3.) A horseman questions a villager a caged parrot. Numerous courtiers and
while a brown and a white cow look on. In the attendants look on from the left and the
distance, boldly painted green and blue trees foreground. Green, tan, and blue dominate
highlighted in white and yellow and cliffs the palette against which the painter has set
painted in a somewhat Persian manner de- small areas of brilliant red and orange, acting
scribe the setting. The ground is treated in a as foils to the cool colors of the central fig-
series of receding planes composed of short ures. Zoomorphic and anthropomorphic shapes
dashes of color and crosshatching, a technique abound in the rock forms; an entire rabbit is
borrowed from European engraving. Mot-
concealed in the cliff behind the seated man.
tled greens and tans establish the over-all
This sort of "hide and seek" can be found
tone, interrupted by the bright orange, yellow,
in many Persian and Mughal miniatures, al-
blue, and crimson of the horseman and his
though it seems to have been especially char-
entourage.
acteristic of the painter Miskin, to whom this
This page is from a manuscript of the
miniature can be attributed.'2
Tritindmeh ("Tales of a Parrot"), a large
Miskin's highly individual manner is al-
section of which is in the library of Sir Ches-
ready apparent in the Darab-nameh in the
ter Beatty. It seems to be by the same hand
responsible for a page exhibited in London in British Museum (Or. 46I5) to which he
I947.10 Although not dated, the manuscript contributed his earliest surviving work with
is probably of about i58o, the date assigned a contemporary attribution.'3 One of the ar-
to it by Basil Gray.
12 For a monograph on this artist see W. Staude,
21.4 x I2.0 cm.
Muskine, Revue des Arts Asiatiques, vol. 5, No. 3,
Ca. i58o. I928, pp. I69I-82, pls. 49-52. The author has based
his arguments on the pages outlined by Miskin in
4. A Prince Visits a Holy Man. (Fig. 5.) the Akbar-ndmeh series in the Victoria and Albert
The lost manuscript from which this page was Museum (I.S.2-i896).
removed was a pocket-size Divdn of the poet 13 Few miniatures from this important early
Shah!." A prince kneels before a holy man Mughal manuscript, which although undated cannot
be later than 1585, have been published. This page,
Fogg Museum of Art, Cambridge, I942, pp. I09- fol. ioov, depicts a girl captive carried off by horse-
I13. Mr. Schroeder gives an excellent discussion of men as a man uproots a tree. Other miniatures by
this artist's style and cites examples of his work. Miskin working unassisted are in a copy of Jami's
10 Vlide Gray, op. cit., p. I42, No. 637, pl. 120, Baharistan in the Bodleian Library (Elliot 254),
The story of the golden elephant. A further section fol. 42r, dated to the 39th regnal year or 1594/5;
of this manuscript was on the market several years the Khamseh of Nizami of the 4oth regnal year, now
ago. Another copy has been dispersed in India; pages in the British Museum (Or. MS. I2208), fol. 23v;
from it are in the collections of the Bharat Kala an Anvdr-e Sohayli in the Bharat Kala Bhavan,
Bhavan, Banaras, and in the National Museum of Banaras, dated I596, folios 48r, 7ir, Igor; and a
India, Delhi. Khamseh of Amir Khosrau Dihlavi (W. 624), in
1- Vide Welch, op. cit., pp. 136, I37, figs. 4, 5. the Walters Art Gallery, Baltimore, which is dated
A further miniature from this manuscript is in the I597/8. Two pages in the Metropolitan Museum
collection of Mr. Philip Hofer. For a brief discus- of Art, New York, are probably from the Baltimore
sion of related manuscripts see Welch, S. C., Jr., Khamseh and should be attributed to this artist. They
The Emperor Akbar's Khamsa of Nizami, The Jour- have been published in color. Fide M. Dimand,
nal of the Walters Art Gallery, vol. 23, Baltimore, Indian miniature painting, Milan, n.d., pl. IO, and
I960, pp. 87-96. R. Ettinghausen, Paintings of the sultans and em-

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 224 STUART C. WELCH,
tist's more familiar pictures is in the Bodleian
Library's Baharistan of Jami,'4 a nocturnal
camp scene in which a woman struggles with
a man. This painting enables us to isolate a
multiplicity of the artist's idiosyncrasies, rang-
ing from a particular kind of organic and fre-
quently zoomorphic treatment of rocks, to
stiff-jointed figures with rounded, pillowlike
knees, and jaggedly silhouetted trees, spotted
asymmetrically over the page.
Like its fellows, this miniature has been
attached to an ugly modern mount adorned
with a jungle of golden animals. A later
version of this miniature is in the Berlin
Museum."5
12.6 x o8.7 cm.
Ca. I595.
S. An Episode during a Hunt.
(Fig. the Tuzuk-i-Jahangir! which, however, de-
Akbar sits on a mat by a stream, watching
a water buffalo defend itself against a lion.
Courtiers, beaters, and other attendants look
on in astonishment as the emperor gestures
to keep them from interrupting the uneven
fight. In the foreground, an encampment of
yogis and a family of goats seem oblivious to
the drama, separated as they are from it by
rocks and trees. A town amidst a craggy land-
scape can be seen in the distance. The picture
is thinly painted in a palette of tans, pale blues,
and greens, highlighted here and there with
gold.
Although this miniature has been sep-
arated from the book or album of which it
once was a part, it can be associated with
another hunting scene, formerly in the collec-
tion of Sir Bernard Eckstein, which bears a
perors of India, Delhi, I96I, pl. 7. Further examples
of his work will be mentioned below, No. 5.
14 Vide I. Stchoukine, La peinture indienne, Paris,
1929, pl. X.
15 Fide R. Ettinghausen, The emperor's choice,
De Artibus Opuscula, vol. 40, ed. by Millard Meiss,
New York, I96I, fig. I4.
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JR.
contemporary attribution or signature to Mis-
kin.'8 This miniature depicts Jahangir, more
accurately Salim, attacked by a wounded lion.
It is similar in format to our picture and
probably they once illustrated the same book.
Stylistically, the Eckstein miniature and the
one here are identical. Both can be assigned
to Miskin.
As we have seen above, Miskin's style is
not difficult to recognize once we are familiar
with several of his autograph works, although
his style evolves with time and certain changes
can be noted. For instance, the hidden animal
forms of rocks, so frequently discovered in
the landscapes of the Baharistan and Shahi
miniatures, are not so easily found in later
paintings. Basil Gray has dated the Eckstein
Lion hunt to i6io on the basis of an episode
in 7.)
scribes the attack of a tiger, not a lion, and
which took place while the emperor was hunt-
ing on horseback rather than mounted as here
on an elephant.17 The youthful appearance of
Jahangir, who is shown prior to his accession,
and the picture itself argue for an earlier dat-
ing. Stylistically, it should not be much later
than the illustrations to the Anvdr-e Sohayli
in the Bharat Kala Bhavan, Banaras, which is
dated i596.18
23.7 x 12.8 cm.
Late i6th century.
16 B. Gray, Op. cit., p. 157, pl. I34. Since writing
the above, we have seen other pictures attributable to
Miskin in this palette. These are: i. Beasts, real and
mythological on a rocky hillside, Chester Beatty Li-
brary, Ms 73(1). (There is also a fully painted
miniature of a closely related subject in the British
Museum (I9c20-9-I 7-05.) 2. The Animal Kingdom,
Freer Gallery of Art, No. 45.29. Vide R. Etting-
hausen Studies in Muslim Iconography, i. The Uni-
corn, Washington, I950, pl. 37.
"I B. Gray, ibid. Vide A. Rogers and H. Beve-
ridge (eds.), The Tuizuk-i-Jahdngiri, London, 1909,
vol. ", pp. I85-I88.
. I Vide footnote I3 above.
 MUGHAL AND DECCANI MINIATURE PAINTINGS 225

6. A Girl Applying Kohl. (Fig. 4.) Wear- as in the blanket and yak-tail frontal. Dashes
ing a red and orange skirt, transparent orange and dots made with the tip of the brush sug-
gest the rough texture of the skin, which is
sirn and yellow choli, a young girl stands with
her face in profile, looking into a mirror. modeled toward the edges. The mahout wears
Black pom-poms hang at her shoulders, wrists, a pointed jdmeh, a tightly wound turban, and
and back. Her jewelry is of gold, rubies, and carries a katar. He sits on a coarse mat, per-
pearls. The background is apple green. Al- haps of fur, leaning back to balance the rock-
though portraits of men are not uncommon, ing motion of his mount. He closely resembles
as we have seen, during this early phase of the figures in a portrait identified by Mr.
Mughal album painting, we know of few rep- Douglas Barrett as Burhan Nizam Shah, II,
resentations of unaccompanied girls.19 of Ahmednagar, a painting to which the draw-
9.6 x 5.2 cm. ing has further stylistic affinities.21
Late Akbar period. i8.o x I6.4 cm.
Ca. i6oo.
7. A Yogi with His Dog. (Fig. 6.) The
stooped figure holds his hands before his face 9. Salim in the Hunting Field. (Fig. 9.)
as though seeking an offering. His costume The prince is enjoying one of his favorite
consists of sandals, a bearskin cape, roughly activities, surveying a pair of nilgae that have
pleated skirt, tinted pale blue, and a rope fallen prey to his marksmanship. He is at-
which hangs from his left shoulder. A conch tended by a corps of huntsmen and courtiers,
shell, pouch, knife, begging bowl, and iron flail several of whom carry small game. In the
hang from his belt, and a long horn is sus- middle distance, servitors stand by with re-
pended from a cord around his neck. Rather freshments. At the lower left, a cheetah mauls
more elegant than most of his ilk, he wears a dead buck from which he is about to be
an archer's ring, bangles, necklaces, earrings, lured by a groom, who approaches stealthily,
and bracelets. He can be identified as a mem- lead in hand. Salim is dressed in dark green
ber of the Kanphata group of the Gurakh- and brown, a costume with a certain elegance
panthi sect of yogis, which has its headquar- but primarily intended as camouflage. His
ters at Gurakpur, near Banaras.20 attendants are somewhat less soberly attired
07.8 X 05.2 cm. in subdued tones of blue, tan, and orange. A
Ca. i6oo. red sword case, held near the prince, is the
brightest note in the color scheme, which is
largely tan and green. The landscape recedes
8. A Running Elephant. (Fig. 8.) The
in coulisses of mottled earth fringed by tufts
caparisoned animal is drawn in a fluent black
of weed and grass.
line with occasional tints of red and orange,
Another scene, in which Salim pursues a
19 Vide Stchoukine, Miniature indiennes (op. cit.) rhinoceros from an elephant, was formerly in
pl. 2, b and No. 36I9, H. b. Other later and provin- the Sohn-Rethel collection.2 It can be attrib-
cial examples are bound with the Laud Ragamala
series. See Mughal miniatures of the earlier periods, 21 Vide D. Barrett, Painting of the Deccan, School
Bodleian Picture Book No. 9, Oxford, 1953, pls. 20,
of Ahmadnagar, London, 1958, p. I4, p1. 5.
2i.
22 Vide E. Kiihnel, Die indischen Miniaturen der
20 I am indebted for this information to Shri Sammlung Otto Sohn-Rethel, Pantheon, vol. 8,
Pramod Chandra, of the Prince of Wales Museum Munich, 1931, p. 387, fig. 5. This miniature has
of Western India, Bombay. also been published by R. Ettinghausen, Studies in

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 226 STUART C. WELCH, JR.

uted to the same hand as this page and must to that of Jacopo Francia of Bologna, who
have come from the same biography of the worked between I 48 6 and I 546.25
heir apparent. A further example of this un-
known artist's work is in a manuscript dated ii. A Presentation Scene. (Fig. ii.) An
I602/3, written by Mir 'Abd Allah Katib at amply robed woman is about to inscribe a
Allahabad, Salim's headquarters prior to his book with a plume pen, assisted by an attend-
coming to the throne as Jahangir.23 ant who holds the document and ink pot. Be-
I9.8 x I I.2 cm. fore them a matronly figure stands, infant in
Early I7th century. arms, presumably awaiting a Christening. Be-
yond, on the porch of a pavilion, a second at-
I0. A European Girl Accompanying Her tendant awaits with a bottle of holy water. A
Song on a Zither. (Fig. io.) She wears a scrawny cat and lean dog in the foreground
admire an offering of watermelons, a cup, and
close-fitting blue dress, a long gold scarf which
billows and winds above her, and is seated on an odd ewer with a human face. In the distance
an ornate throne of the type associated with can be seen a typically Mughal row of trees
Savonarola. It is decorated with minutely and flying birds.
drawn angels, saints, and figures running with The drawing is in black ink and very like
hounds. A cat licks its paw at the lower right,one attributed to Man6har in the Gulistan
near a vermilion pillow upon which the girl Library,26 Teheran. Both drawings seem to
rests her bangled foot. The drawing is lightly derive from engravings of the circle of Mar-
tinted and is reminiscent of the figural bor- cantonio Raimondi.
ders made for Jahangir's albums.24 The back- I5.0 x io.6 cm.
ground, however, differs from these in its Early I7th century.
treatment of space, which recedes in the con-
ventional Mughal fashion rather than being I 2. J Mughal Nobleman. (Fig. I2.) An
composed of weaving two-dimensional pat- elegant courtier offering a gem-studded cup and
terns suitable to marginal decoration. flask looks toward the right, his face in profile.
An arch of floral arabesque ornament painted
Although it has not been possible to find
over gold frames the picture at the top. A
the exact source of the figure, the style is akin
yellow-green field with indications of grass
Muslim Iconography, I, The unicorn, Washington, spreads behind the figure, its color visible
1950, pl. 33. through the transparent muslin jameh. In the
23 Vide R. Ettinghausen, Paintings of the sultans foreground, an iris and a plant with small
and emperors of India, Delhi, I96I, pl. 8. red flowers add an element of reality to the
24 Vide E. Kiihnel and H. Goetz, op. cit. This
setting. Plum-colored paijameh and pale vio-
publication describes the album now preserved in
Tubingen. Other collections which include pages
let and gold establish the color scheme of the
from this or identical albums are The William Rock- costume. Jewelry is worn in profusion: ruby
hill Nelson Gallery, Kansas City; The Boston Mu- and gold earrings, pearl and gold necklaces,
seum of Fine Arts; The Fogg Art Museum; The
Freer Gallery of Art, Washington; The Gulistan 25 Vide A. M. Hind, Early Italian engraving,
Library, Teheran; The Naprstek Museum, Prague; London, I938-48, vol. 5, pp. 220-235; vol. 7, pIs.
and (formerly) the Sohn-Rethel collection. Since 809-823.
writing the above, we have seen a painted version of 26 Vide J. V. S. Wilkinson and B. Gray, Indian
this subject in the Gulshan album, Gulistan Library, paintings in a Persian museum, The Burlington
Teheran. Magazine, vol. 66, I935, pp. I68-I77, pl. 3, a.

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 MUGHAL AND DECCANI MINIATURE PAINTINGS 227

four archer's rings as well as aheroic katar of although

mould, gold her daintily posed
set with stones which owes as mrruch to the hand, the index finger raised in an Indian
jeweler as to the armorer. A damaged in- response to the baroque,29 suggests that femi-
scription has been deciphered as saying, "A ninity was not foreign to her personality. Ob-
young agha-may be good work by Nanha." 27 viously a major figure in Jahangir's household,
This is consistent with the style of the paint-she wears a transparent odhni, a fine muslin
ing, which is that of an Akbari artist strivingcholi, and quantities of jewelry: two rings,
to adjust to the new manner of the Jahingir four strands of huge pearls, two gold neck-
period, with its greater tendency toward illu- laces, a ruby and gold pendant, ruby and pearl
sionistic detail. earrings, and a similarly shaped hair orna-
I3.0 x o6.o cm. ment.

Ca. i6iS. Although her identification cannot be cer-

I 3. Portrait of a Woman. (Fig. I.3) who married the emperor in 6 i6I at the age
The ladies of Jahangir's harem strike one
as "handsome" rather than beautiful. They
conform to the fashions that prevailed in the
west during the Republican period in Rome,
the high renaissance, and the late Victorian
era; buxom, matronly types rather than their
less substantial if prettier sisters were the
vogue.28 The subject of this portrait is obvi-
ously made of stern stuff. Her impassive pro-
file, set against a black ground, is cast in a
27 I am indebted to Mr. Robert Skelton of the
Victoria and Albert Museum for this difficult trans-
lation.
28 Vide A. K. Coomaraswamy, Catalogue of the
Indian collections in the Miuseum of Fine Arts, Bos-
ton, part VI, Mughal painting, Cambridge, 1930,
frontispiece and pIs. 3-6. Both of these miniatures
are birth scenes of the Jahangir period, probably from
a Jahangir-nameh. They can be accepted as reliable
portrayals of the imperial zandneh during the early
years of the reign. Further evidence of the emperor's
taste in women is given in a portrait in whllich he
embraces a lady, identified as Niur Jahan by Ivan
Stchoukine, Portraits Moghols, 2, Arts Asiatiques,
vol. 7, No. 2, Paris, 1932, pp. I67-I76, pl. 56. The
more graceful clutch of women in a later holi scene
in the library of Sir Chester Beatty probably repre-
sents a group of courtesans rather than members of
the imperial family. This picture is published by
Sir Thomas Arnold and J. V. S. Wilkinson. The
library of A. Chester Beatty, a catalogue of the
Indianz miniatures, London, I936, vol. 3, pl. 56.
tain, this forceful woman might be Nuar Jahan,
of 34 and whose career was such as one might
expect of the dynamic personality shown in
this postage-stamp-size painting. In format,
the picture is like several surviving likenesses
of the emperor which appear to have been
made to be worn as jewels.30
03.O x 02.9 cm.
Ca. i6i6.
29 By the time of this painting European en
gravings, tapestries and paintings had long been fa
miliar at the Mughal court. However, it is inter
ing to note that in i6i6 a "small limned picture
a woman" by Isaac Oliver was given by Sir Thom
Roe to the emperor. (W. Foster, The embassy o
Sir Thomas Roe, London, I899, vol. I, p. 214, n
This British miniaturist's study of the work of
Italian mannerist, Parmigianino, and his associat
with emigre artists from Europe is well know
(vide Graham Reynolds, Nicholas Hilliard and Is
Oliver, London, 1947, pp. II-I7, pls. 27-48). It
seems quite possible that the manneristic hand of our
portrait and even the idea of a small portrait of a
woman came about as a result of Sir Thomas Roe's
gift.
30 Vide Hollis, Islamic art, selected examples from
the loan exhibition of Islamic art at the Cleveland
Museum of Art, Cleveland, 1944, pl. 28. Another
is in the British Museum. For a portrait of the
emperor wearing such a jewel see I. Stchoukine, La
peinture indienne, Paris, I929, pl. 34. Sir Thomas
Roe tells of receiving from the emperor "a picture
of him selfe sett in gould hanging at a wire gould
chaine." (W. Foster, op. cit., vol. i, p. 244.)

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 228 STUART C. WELCH, JR.

I4. a Page of Animal Studies. (Fig. ii.) and hoof, velvety softness of the muzzle, and
Natural history had long been an enthusiasm pliableness of the red leather halter have each
of the Mughal emperors. Babur's memoires been sensed and recorded. His fur is remark-
include a long discourse on the fauna, as well able in its variety, growing in woolly clumps
as the flora, of Hindustan, although no con- on the flanks, sleek stubble on the nose, and in
temporary drawings or paintings of animals long white fleece, ready to be clipped and put
have survived from either his reign or that of to use as a chauri.
his son, Humayuin. During the era of Akbar, Above, a handsome young stag belies in
animals were frequently painted, but seldom his stance an apparently mortal bullet wound
for their own sakes.3' Jahangir's insatiable from which a fine stream of blood trickles onto
curiosity about the world-the objects of his the terra-verte ground. The knobby roughness
interest ranged from walrus teeth to the effect of the antlers, lustrous coat, painted hair by
of drink on an imperturbable Sannyasi who hair, following the contours of the lithe body,
had renounced this world, and of course to and subtle transitions of tone, from palest tan
all forms of wildlife-combined with his love to deep brown-black have been put before us
of painting to inspire a remarkable series of with the peculiarly Mughal knack for com-
animal studies. His autobiography makes fre- bining painstaking attention to detail with
quent reference to such commissions from his animation.
artists, whose mastery of the genre is demon- Mounted with the two principle subjects
strated by a number of pictures which rival are several smaller studies of nilgai, ibexes,
Diirer's in accuracy and sensitivity. fat-tailed sheep, deer, and goats. Several of
Our page is made up of several pictures these are painted over gold and must have
brought together as a sort of collage. Orig- been intended originally to serve as adjuncts
inally, the composition was unified by an over- to album pages of calligraphy.32
painted apple-green ground scattered with 23.I x I4.8 cm.
flowers. Although conceivably of the period, Ca. I620.
this was applied with little care and its re-
moval reveals the acutely observed outlines IS. Sitd and Lakshman. (Fig. i6.) Sitt
and the tonal relationships of the subjects to has fainted and Lakshman, brother of Rama
their backgrounds. prays for her recovery. She wears a saffron
The contented Tibetan Yak at the bottom skirt and violet choli; he an orange dhoti,
of the page may well have been part of Jahan- violet duipatteh, and golden crown. The epi-
gir's zoo. He is at pasture against a tan sode takes place in a deep green glade bor-
ground, which blends with delicious green dered by a stream and a river. A pair of
grass bordering a stream. Much has been jackals scampers in the foreground, one of
made of the textures; the toughness of horn them turning in surprise toward Lakshman.
A sinuously curved tree with a rich brown
31 Exceptions are the animal subjects in such
trunk leads our eyes from the central scene
manuscripts as the Bdburnameh and the 'Ajd'ib al-
toward a white fort set on a distant hill, its
Makhlaqdt, which nevertheless lack the accuracy of
observation demanded of Jahangir's painters. The remoteness increased by separation from the
most powerful animal painting of the Akbar period
is in the Victoria and Albert Museum's Akbarndmeh 32 Fide C. S. Clarke, Indian drawings, London,
(I.S. 2-I896) where the animals outlined by Basa- I922, pl. 22. Similar animals are seen here in areas
wan and Miskin are unsurpassed in Indian painting. surrounding calligraphy.

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 MUGHAL AND DECCANI MINIATURE PAINTINGS 229

figures by a large block of text. Above Sita,
two monkeys and birds play in a stunted tree.
Duck, fish, and a rowing boat with two men
can be seen on the distant river.
This page is from a copy of the Razm-
ndmeh, the Persian translation of the Mahab-
harata, from which a page dated i6i6 is in
the Victoria andAlbert Museum.33 The manu-
script has been lost, but the style of the
paintings connects it with two others which
belonged to the Khan-e Khanan, one of the
leading nobles at the courts of Akbar and
Jahangir and a notable poet and bibliophile.34
33 The dated page is unpublished. For other pages
see W. G. Archer, Indian miniatures, Greenwich,
i96o, pl. 24; M. Dimand, An exhibition of Islamic
and Indian paintings, Metropolitan Museum of Art,
the stylized postures of the dance drama, by
Bulletin, vol. I4, No. 4, 1955, pp. 88, 89, fig. p. 94.
There are five miniatures from this manuscript in
the museum, three with attributions to Fadil, Makal,
and Kasim: M. F. Marcus, A page from a dated
Razm Nama, The Bulletin of the Cleveland Museum
of Art, vol. 48, No. I, I96I, pp. 12-15, figs. I, 2;
Sotheby and Co., Catalogue of important western
and oriental manuscripts and miniatures, Sale of May
19, I958, lots 26-40; and B. Gray, op. cit., p. 143,
No. 643, pl. 122, wrongly identified and dated ca.
1585.
34 Vide Sir Thomas Arnold and A. Grohmann,
The Islamic book, Leipzig, 1929, pls. 85-87. This
manuscript, a Khamseh of Amir Khosrau Dihlavi
contains an inscription by the Khan-e Khanan (dis-
cussed by H. Goetz, Indian miniatures in German
museums and private collections, Eastern Art, No. 2,
Philadelphia, I930, p. I47), stating that it was pur-
chased by him in Gujarat and contains the callig-
raphy of Sultan 'Ali and paintings by Bihzad. If
the inscription can be believed, the miniatures must
have been replaced by those of the owner's atelier,
for so knowing a connoisseur could not have been
the dupe of his own artist's work. According to
Goetz (op. cit.) the miniatures are signed by Qasim,
Nadim, and Mishkish. Another manuscript of this
group has recently been published by R. Ettinghausen
in Paintings of the sultans and emperors of India,
pls. 3 and 4 and facing text. It also is inscribed by therequire an even longer time than the copying of the
Khan-e Khanan, to the effect that it was copied overtext.
a period of approximately ten years, apparently while
The miniature is inscribed with the artist's
name, Fadil, whose work is from one of the
other manuscripts of this group.35 His style
is individual. Broad and decorative in design,
his forms seem to grow naturally around the
blocks of the text, each shape leading to the
next. He often crowds together near compli-
mentary colors of equal intensity, achieving
a glowing effect. Pigment is applied in flat
patterns, over which he draws an even, rhyth-
mic tracery, as in the flowers, tufts of grass,
rocks, and in the folds of costumes. Outline
is wiry and sure, building a maximum of ten-
sion such as we see in the recumbent Sita,
whose graceful curves and sharp angles domi-
nate the space around her. Gestures and facial
expressions are formalized, bringing to mind
which perhaps they were influenced. And yet,
as in the scurrying jackals and boatmen, Fadil
was able to freeze the movement he saw and
translate it into his own formal terms. Fadil's
style, the most distinctive in the atelier of the
Khan-e Khanan under discussion (for it seems
unlikely that this great patron of the book
could have been content with only this rough
style and we know that Madhul, a highly
skilled painter was also in his employ) is of
greater significance in relation to Rajasthani
painting than Mughal. While it had no in-
fluence whatsoever on later Mughal work, the
impact was immediate and direct on Rajas-
thani art. Not only does the Laud Ragamala
set (Bodleian Library, MS. Laud, Or. I49)
owe many of its elements to the style of Fadil,
but also we have seen an early Bundi hunting
scene thoroughly imbued with his manner.
Badaiuni was engaged in making the translation. The
style of the second plate published by Dr. Etting-
hausen is so like the i6I6 manuscript that one won-
ders if the completion of the illustrations did not
3 Vide R. Ettinghausen, ibtid.

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 230 STUART C. WELCH,
The diffusion of this style will make one of
the more interesting chapters in the history
of Rajasthani painting. One wonders where
the Khan-e Khanan's painters worked. Did
they accompany him to the Deccan or were
they located at one of his properties else-
where? Jahangir tells of giving him a jagir
in the Agra area, a most likely spot for the
propagation of this kind of painting, which
has such a fervid Rajasthani flavor.
37.0X 22.I cm.
Ca. i6i6.
i6. X Bijapuri Nobleman. (Fig. I4.) A
dark-skinned courtier stands against a pale
blue ground with his hands before him in a
position of attentiveness. His costume is sim-
ple but elegant; over a robe and underrobe of
white, a wide, also white shawl edged in gold
of two tones has been wound to form rhyth-
mic arcs. The turban is of conventional Bi-
japuri form and again white, with a broad
crosspiece of tooled gold decorated with red
and green. At the lower left, a patch of pink
is all that remains of the padjameh.
The portrait brings to mind another, in
the British Museum, which is close in style.36
The faces of both pictures are imbued with
an almost Egyptian symmetry; the eyes have
been transformed into almonds and the other
features reduced to equally graceful elements.
Nevertheless, the artist's preoccupation with
abstract form has in neither case prevented
him from achieving incisive portraiture.
Once a full-length portrait, this picture has
been cut down and torn.
o6.6 x 04.I cm.
Deccan, School of Bijapur.
Ca. I 620.
36 Fide B. Gray, Deccani paintings: the school of
Bijapur, The Burlington Magazine, vol. 73, No. 425, I932, pl. 72; Joseph Strzygowski, Asiatische Minia-
1938, pp. 74-76, fig. C.
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JR.
17, i 8. Two pages from an album. (Figs.
17, I8). One of the more frequently encoun-
tered and easily identified of the imperial
albums is that with miniatures set in borders
decorated as a rule with large, fully painted
figures, animals, and occasionally birds, sur-
rounded by small gold flowers painted over
the buff paper.37 The marginal figures are
sometimes busy at their occupations but more
commonly stand somewhat stiffly, obediently
facing the picture. Often these attendants
were chosen from the immediate circle of the
subject of the central portrait.
The album varies widely in quality. At
best, these portraits maintain the high level
established by Akbar and furthered by his
son's discerning patronage. Although rather
more taut in pose, reticent in expression, and
almost vulgarly sumptuous, they remain in
the tradition, with no technical falling off.
However, they can be among the drabbest
of Mughal paintings; superficial facility of
craftsmanship fails to conceal an essentially
arid and meretricious reworking of a tiring
formula. Of the imperial albums that can be
reconstructed, this appears to be the latest of
its epoch. Not only is it stylistically from the
latter part of Shah Jahan's reign, but also
.7For reproductions of folios from this album
vide Sir Thomas Arnold and J. V. S. Wilkinson,
op. cit., vol. 3, pls. 67-72; Percy Brown, Indian
painting under the Mughals, Oxford, I924, pls. 26,
27; E. Blochet, Les peintures orientales de la collec-
tion Pozzi, Paris, I928-30, pl. 8 (a page of callig-
raphy with a border of birds and flowers, mistakenly
catalogued as Persian, ca. 1490); E. Kiihnel Minia-
turmalerei im islamischen Orient, Berlin, I923, pl. II 7
(No. 17 below); G. Marteau and H. Vever, Minia-
tures persanes, Paris, I913, vol. 2, pls. I58-i6o, I63,
I64; F. R. Martin, The miniature painting and paint-
ers of Persia, India, and Turkey, London, I912, vol. 2,
pls. 2II-215; Ivan Stchoukine, Miniatures indiennes
du Musee du Louvre, Paris, 1929, pls. 13-I5; idem,
Portraits Moghols, 3, Arts Asiatiques, vol. 7, No. 4,
turmalerei, Klagenfurt, 1933, figs. 254, 260, 262.
 MUGHAL AND DECCANI MINIATURE PAINTINGS 23 I

the emperor is shown only late in life. His alds, rubies, and a veritable garden of red,
imperial ancestors, too, are represented at green, and gold flowers. In keeping with the
advanced ages; perhaps it was some consola- portrait as a whole, which is an image of the
tion to Shah Jahan that he had already lived official self, hermetic and quite unlike the
longer than most of them had. psychologically telling likenesses of the Akbar
and Jahangir periods, the wrinkles of old age
I7. Akbar. (Fig. I7.) The nimbed em- have been hinted at but never delineated.
peror stands on a clump of grass and flowers In the lower border, a small goat rests
against a blue-green sky which blends with between a pair of lions, perhaps symbolizing
gold and orange clouds. He wears a pink the emperor's benevolent but firm rule, under
jameh with narrow gold stripes decorated with
which even the feeble were safe. Overhead,
red flowers, a matching patka, and a white two angels carry a canopy and scroll upon
and orange turban. His paajanmeh is green, which are written words from the Quran.
worked with gold leaves. Shoes are red, gold, Three attendants in the right margin stand
and orange. Contemporary portraits never by with a covered tray, a jewel box, and a fly
adorn him with such an array of jewels. His whiisk. The miniature is signed by Hashim.
four rings, double-stranded necklace of pearls, Border: 36.4 x 24.7 cm.
emerald pendant, gem-studded katdr, with Miniature: 2I.5 x 13.0 cm.
pearl and ruby fastener, and an even more Mid-I7th century.
sumptuous sword would seem better suited to
Shah Jahan than to his more Spartan grand- I9. a Hindu girl at prayer. (Fig. I9.)
father. The emperor's expression is serious She lies on the ground by night, leaning on
but benign; he gestures with his right hand her elbows before a golden fire, the accoutre-
and appears to be conversing, perhaps with ments of worship at her side. Her hands and
the grandson who commissioned this portrait bare feet are tinted with henna and she is
in his old age. dressed in gold, green, and violet. Behind, a
In the border above the emperor, two dark landscape emerges from the gloom, re-
European angels hold a pearl-fringed gold vealing distant marble buildings and trees at
canopy decorated in crimson over his head. the top of a range of small hills. The sky is
Figures to the left carry a jeweled umbrella, blue-black with white stars and a crescent
a sword, and a shield. Below, a buck prome- moon. A similarly nocturnal and romantic
nades behind two doe. atmosphere is found in a painting of Murad
Border: 36.8 x 25.0 cm. Baksh receiving a girl on a terrace."8
Miniature: 2 I.4 x I 2.7 cm. I3.8 x I7.0 cm.
Mid-I7th century. Third quarter I 7 century.

i8. Shah JahJn in Old Age. (Fig. i8.) 20. a Pair of Common Myna Birds.39
The gray-bearded ruler is seen in profile hold-
(Fig. 20.) Isolated against a dark, brick-red
ing a sword and fly whisk. The sky is blue-
green, streaked at the top with white and "I Vide W. G. Archer, Indian miniatures, Green-
wich, I960, pl. 46.
violet, a color also used in the emperor's
39 I am grateful to Dr. R. A. Paynter of the
pdijameh. His turban is red and green; other-
Department of Comparative Zoology, Harvard Uni-
wise the costume is entirely gold and white,
versity, for this information. The Latin name is
punctuated by brilliant accents of pearls, emer-
Acridotheres tristis.

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 232 STUART C. WELCH,
ground, the two birds turn to the left, the
farther one apparently squawking in protest
at what he sees. The nearer bird stands on
one leg clutching the other to his body, the
claws drawn in as though readied for sudden
motion. Beaks and legs are yellow, breasts
brown, tails and wings brown-black, tipped
with gray. The pigment is highly polished
and shows the rulings of a calligraphy on the
other side of the folio.
I4.6 x 09.5 cm.
Second half I7th century.
21. A Party. (Fig. 2I.) Two ladies are
seated on a terrace attended by three servants
and a girl playing a vina. Thinly painted-
the natural tone of the paper predominates-
the artist has reserved opaque colors for the
white rug, marble dais, cochineal pillows, and
almost impressionistically painted still life of
flowers, fruit, and wine vessels. The lady who
offers her guest a cup of wine bears a striking
resemblance to Awrangzib. Conceivably, she
is one of his daughters.
An album of the Awrangzib period in the
Victoria and Albert Museum contains another
miniature of a similar subject by the same
hand.40 The somewhat Deccani character of
these pictures can be explained by the large
numbers of Mughals who were stationed in
the Deccan during the I7th century. Although
ostensibly involved in bitter warfare, the
Mughal and Deccani nobles seem to have
met more often over the wine cup than with
40 (I.M.132-I885.9). The album is complete al-
though dismantled. It contains a conventional por-
trait of Awrangzib, one of his father, and several of
unidentified nobles of the period. The most elaborate
portrait is of Fakhr Khan, a courtier who died in
I68i, with his sons. There are also calligraphies, one
of them written at Lahore in I656, a number of
French engravings, a fragment of a mid-i6th-century
Safavid miniature, a series of genre subjects, and an
archaistic drawing after a European subject in the
style of the Jahangir period.
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JR.
sword in hand. One result of this contact,
other than the prolongation of Awrangzib's
costly and hopeless campaigns, was the devel-
opment of a style of painting in which the
lyrical flavor of Deccani art mingles with the
more prosaic manner of the Mughals.4
I5.7 X II.8 cm.
Ca. I 670.
22. Todi Ragini. (Fig. 22.) This un-
usually lyrical version of the musical mode
is set in an enchanting world of pink and green
pinnacles, feathery trees, growing with no
respect for scale, and seemingly transparent
birds that flap across a pale sky spattered with
blue clouds. Larger than any of the rocks or
trees, a girl in orange and red, holding a
vina, feeds grass to a buck while two doe stand
coyly by.
A portrait of Tana Shah of Golconda
("The King of Taste") in the Bikaner col-
lection 42 helps to establish the provenance and
"The outstanding example of this style is the
papier mache box in the Victoria and Albert Museum
(I.M. 85I-I889) which has been published by Stella
Kramrisch (A survey of painting in the Deccan, Lon-
don, I937, pl. XXI) and which can be attributed
to Rahim Dakani on the basis of a signed painting
in the collection of Sir Chester Beatty (B. Gray,
Painting, op. cit., No. 8I9, pl. I47). Another such
box has been published by S. I. Tyulayev, Indian
art in Soviet collections, Moscow, I955, p1. 22.
Deccani-Mughal paintings are not uncommon. The
well-known room at Sch6nbrunn is virtually papered
with them (vide J. Strzygowski, Die indischen Mini-
aturen im Schlosse Sch6nbrunn, Wien, 1923). Others
are in an album (Min. 64) in the National Library,
Vienna, and a further group is in the Musee Guimet.
Of particular interest is a portrait in the Victoria
and Albert Museum (I.S. 59.I949) which can be
identified as Qilij Khan, a Persian employed by
Awrangzib in the Deccan. He is shown with a girl
whose costume and facial type are related to our
terrace scene.
42 Vide H. Goetz, The art and architecture of
Bikaner state, Oxford, I950, fig. go. This picture
was part of the booty taken by the Maharaja of
WELCH PLATE 1

:
*7

FIG. 2.-A Master and His Puipil,

4 , I 1 CA. 1585.

FIG. 1.-A Raiput, CA. 1575.

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WELCH PLATE 2

ti . ;rDi
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FIG. 3.-X Peasant Boy and an Jrmed Band, FROM THE Ttinameh, CA. 1580.

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 -~~~~~~~~~~ a
I~~~

l~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~n

FIG. 6

FIG. 4. A Girl Applying Kohl,

LATE AKBAR PERIOD.

FIG. 5.-A Prince Visits a Holy Manl, FROM TIIE Divan-e Shahi.
CA. 1595.

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WELCH PLATE 4

FIG7 A Epsod duznga Hnt TTRBUTD T MiKiN LAE 1TH ENTRY

FIG. 7.-AnEpisode dsring a Hun, ATTRIBUED TO MISKN, LATE 16H CENTURY

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WELCHI PLATE5

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WELCH PLATE 6

~.'.--'- \

-0,7 77l m p

FIc. 9 -Prince Salimi in the Huintinig Field, FIG. 10.-A European Girl with a Zither,
EARLY 17TH CENTURY. EARLY 17TH CENTURY.

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WELCH PLATE 7

FIG. 11.-A Presentation, Scecuc, ATTRIBUTED TO MANOHAR,

EARLY 17TH CENTURY.

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WELCH PLATE 8

FIG. 13. Portrait of a Woman, AFTER 1616.

(Enlarged.)

s N' _7

I~~~~~~~~~~~~~~~~~~~

FIG. 12.-A Mughal Noblenman, CA. 1615.

FIG. 14.-A Nobleman, DECCAN, SCHOOL OF

BIJAPHR, CA. 1620.
(Enlarged.)

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WELCH PLATE 9

v ?_ , ,

FIG. 15.-A Page of Animal Studies, CA. 1620. -

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WELCH PLATE 10

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WELCH PLATE 11

FIG. 17.- Skbar in Old ANge, MID-17TH CENTURY.

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WELCH PLATE 12

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WELCH PLATE 13

FIG. 19.-A Hindu Girl at Prayer, THIRD QUARTER 17TH CENTURY.

FIG. 20.-A Pair of Comman Myna Birds,

SECOND HALF 17TH CENTURY.

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FIG. 21i A Party, CA. 1670

FIG. 22. Todi Ragini, DECCAN, SCHOO

THIRD QUARTER 17TH CEN

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WELCIH PLATE 15

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FIf.:23.-A Procession, PAINTED IN THE DECCAN FOR A MUGITAL PATRON, LA

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 MUGHAL AND DECCANI MINIATURE PAINTINGS 233
date. Stylistically the two miniatures are close,
if not by the same hand. No doubt the raga-
mala picture is from Golconda, a court noted
for its interest in Hindu culture and it should
not be much later than the portrait, which
shows the ruler as a very young man.
I7.2 X I0.0 cm.
Deccan, School of Golconda.
Third quarter I 7 century.
23. a Mughal Procession. (Fig. 23.)
This section of a wider painting43 depicts a
Mughal prince in a palankin, accompanied by
elephants, horsemen, and foot soldiers, which
are silhouetted against the pale green back-
ground. Banners, palankin, elephant trap-
pings, and most of the costumes are dark
orange, the elephants gray, and the sky, typ-
ically Deccani with its spiral clouds, white,
gold, and silver, materials that are used lib-
erally throughout. Accents of pale yellow,
green, and black among the costumes relieve
the monotony of the limited palette.
Processions were a favorite subject in the
Deccan.4 This one, although Mughal in sub-
Bikaner at the fall of Adoni in I689. It is inscribed
with the name of Tana Shah, not of his son-in-law,
as has been pointed out by W. G. Archer in The
problems of Bikaner paintings, Marg, vol. 5, No. i,
Bombay, I951, pp. 8-i6. Archer dated the portrait
to ca. i66o.
43 Another piece, showing the prince's harem in
closed palankins is in the collection of Howard
Hodgkin, Esq., London.
44 Vide Sir Thomas Arnold and J. V. S. Wilkin-
son, op. cit., vol. II, pl. 4, a page from the Nujuim
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ject, owes much to Golconda prototypes. Such
details as the face turned toward the spec-
tator, as well as the gaily caparisoned, very
fat elephant, and the generally lighthearted
atmosphere suggest that the painter had been
trained in the Golconda sphere. Further evi-
dence is supplied by the less lively but related
series of Golconda paintings that illustrate
the Storia do Mogor, the memoires of the
garrulous Venetian, Niccolao Manucci, who
acquired them prior to i686.45 The artist has
two claims upon us: he draws with disarming
wit and freshness of touch and is particularly
adept in recording movement; his palki bearers
and foot soldiers are among the few in Indian
painting who seem actually to walk.
35.4 x 24.6 cm.
Deccani-Mughal.
Last quarter I 7th century.
al-'Ulum, manuscript dated I570 and probably from
Bijapur. Other processions also occur in this manu-
script. F. R. Martin, op. cit., vol. 2, pl. 208, a
superb Golconda example, showing 'Abdallah Qutb
Shah (i626-72) riding an elephant through the
city, a mid-I 7th-century painting; Stella Kramrisch,
op. Cit., pls. i6-i9, a somewhat later example of the
same ruler, now in the Prince of Wales Museum of
Western India, Bombay. Later in Sch6nbrunn (J.
Strzygowski, op. cit., pls. 6, ii, iia) and in the
Musee Guimet (Nos. 35.548, 35.563).
45 These are now in the Bibliotheque Nationale,
Paris (O.D. 45). They have been published in
Niccolao Manucci, Storia do Mogor, tr. by W.
Irvine, London, I907, vols. I-4. Although in Gol-
conda style, the pictures are hack work. Vide R.
Skelton, Documents for the study of painting at
Bijapur, Arts Asiatiques, vol. 5, No. 2, 1958, p. I05.