Mughal Miniature

Painting
Ut -2
Class- 12 th

Presented
by
Shyam kumar
 TOPIC TO BE COVERED…….
• Introduction
• Chronology
• Origin and development
• Art during Akbar period
• Art during Jhangira period
• Art during Sahjahan period
• Declining the Mughal Art
• Main features of the Mughal School
• Salient feature of Mughal School of miniature painting
• Important short notes- on Mughal painting
• Study and appreciation of the following Mughal painting
• Kabir and Raidash - Painter - Ustad Mansoor
• Krishna lifting Mount goverdhana – Painter -Miskin
• Birth of Salim - Painter - Ramdas
• Falcon on a Bird- Rest - Painter – Ustad Mansoor
• Marriage Procession of Dara Sikoh – Painter – Haji Madni
 INTRODUCTION
• Mughal art was polished and refined from of art of early Indian style by Persian Artist .
• This is a mixture of Rajasthani and Persian Art.
• Subject Matter of the Painting was Indian but Ornamentation and borders decoration was
Persion .
• CHRONOLOGY
• Baber
• Humayun
• Akbar (1556-1605 ) Golden period
• Jahangir ( 1605-1627 ) Peak Period
• Sahjahan ( 1628-1658 )
• Aurangzeb ( decling started in 1658 )
• Bahadur Shah zafar ( complete decline in 1712 )
 ORIGIN AND DOVELOPMENT
• In medieval Indian, Mughal school of miniature painting was recognised as the art of
aristocracy
• The Mughal art was quite different from the sultanate art or the Islamic art which was
provide in Deccan Muslims’ Empires,because theme, style of art ,human figures and artists
of the Islamic art come from world of Persia or Iran and Turkey
• The painting painted by them were Indian only in the text that they were painted on Indian
ground ,but the feeling of Indianans was not in them at all.
• The view of the Mughal art was quite different from the sultanate art or the Islamic art.
• It was not only Indian but also looked Indian.
• The artist of that period had initiated to represent the Islam even in Indian style with the
Indian subject-matter .
• In that way, the Mughal art was not the Islamic art at all, only the Islamic elements were
included in that to make it more prosperous.
• On the basis of development, there are three phases of the Mughal Art.
1.ART DURIING AKBAR’S PERIOD
• Akbar is acknowledged as the father of Mughal Art.
• His two predecessor rulers –Baber and Humayan – Remained busy in stabilizing the empire.
• 13 year old Akbar become king .
• He not only stabilized the Mughal Empirer with his intellectual skills ( painting ) and book
writing Skill.
• The Picturisation of the Book he established a Tasvirkhana House in his court .
• He got a paper-mill established in Syalkot ( now in Pakistan ) to make compulsory and
continuous supply of paper .
• It is because of the Good attitudes of Akbar towards the Hindu and other religions
• The inclusions of the best Indian as well as the best Islamic elements and themes of art .
• The artist of Akbar court very beautifully includes the Islamic values and royal Iranian themes
• With the Hindu style and the Indian aesthetic sense in their paintings
• In the Akbar’s court the Hindu painters were in majority but they were to work under the
direction
• Akbar period of two Iranian master Artist Mir Saiyad Ali and Abdul Samad in that way
• The elements of two different style of Painting were spontaneously included in the
paintings of those artists/ painter
• Akbar did not got formal education so, he is Known as illiterate king but, he got
translated The best Indian literature into Persian and the best Persian literature into
Hindustani .
• It is acceded that when Akbar died, there were about twenty-four thousand
illustrated manuscripts of the world-fame literature in his library.
• It reveals that, together with tolerance, haw skilled he was in art ,knowledge and
intellectual matters.
• SUBJECT MATTER
• Ramayana,the Mahabharata, Harivansh Puran,Hamjanama ,Shahnama, Turkinama,
Babernama etc .
• In that period, a few portraits were painted ,but the women portraits were not
allowed to paint except professional women and dancers.
• AKBAR PERIOD CHARACTERISTIC
• In this painting we can see the co-ordination with excellent colour
mixture ,clear excellent
• The vibrating or gliding lines ,too minut delineation over crowed but
balanced figures .
• Potential demonstration,
• Balance body assemblage, pretty round faces and full-fledged screen
2. ART DURING JAHANGIR PERIOD
• Jahangir was a very sharp sighted and sensitive against thebcharming beauty of
both the human and nature
• Poeticism and imagination was present in Jahangir’s character
• The impressions of his period are more evident
• The paintings of bird and Animolas are counted among the best paintings of
the world
• During Jahangir’s regime, reconciliation with the European world increased
consequently.
• European elements of art -light and shadow and feeling of three –dimension
aspects-were included in Indian art.
3. ART DURING SAHJAHAN PERIOD
• Sahjahan became the emperor of the Mughal empire in 1626
• Sahjahan preferred Architecture rather then paintings
• He got so many forts ,palaces and mosques constructed .
• The Taj Mahal,Red Fort of Agra etc.
• For that very purpose, the art of his predecessor Mughal although remained
continue yet it was not so effective as before.
• Except a selected few love-stories, such as of Darasikoh-Ranadil,Bajbahadur-
Roopmati, Laila-Majnu,and thes serialized painting on different themes were
abandoned.
• The art of painting went on in Jahangir style in Sahjahan’s time also ,but the
standard was not that high as it was during Jahangir period.
• The art of painting saw a downfall in the time of Sahjahan
 SAHJAN PERIOD CSCHARACTERIST
• The delineation on applied subjects such as individual delineation, courly
scenes, pageants, festivals , picnics, etc.
• Was started to be liked .
• Nature and background was more placid, tender and attractive.
• Decorative elements were started giving preference.
• Romantic and fastidious Sahjahan did not like viplence and uglinessat all.
• For that very purpose in the painting of his period, there is an absence of
such delineation like hunting, animal fights, violence and ware or battles
whereas there is plenty of all the elements of symbols of beauty.
 DECLINING THE MUGHAL ART.
• Aurangzeb was an orthodox Muslim.
• There was no place for all the forms of art in his regime. Therefore,nowork was
left for the artist/painter after declining of the Mughal court .
• They started going towards the independent provinces and states.
• Wherever those artist went, carried with them the style of the Mughal painting
and art .
• But taking into consideration the demand of the time thelikeness, dislikenessand
and interests of new patrons and the elements of art existed beforehand , the
elements and the style of the Mughal art were also included in paintings.
• In this way, the new style was developed with the blend of both the style ehich is
known as Provincial Mughal Style’ Avadh becom the leading centre of that newly
developed style of painting/art whereas in Datya painting work continued in pure
Mughal style for a long time.
 CHARACTERISTICS OF MUGHAL PAINTING
SUBJECT MATTER
• Ramayana , Mahabharata, Nal Damayanti, Panchatantra Stories trees, Plants,
Rivers,Mountains, Battle Scenes ,Hunting Scene.
PROFILE FACE –
• Ek chasma ( single eye )
• Still figures are full or half but faces are EK Chashma.
• in Iranian Paintings one and half eye faces are drawn.
• Mughal showed greater interest in EK-chashma faces after coming to India.
SPECIAL DECORATION WITH BORDERS
• This is the main effect of Iranian Art on Mughal painting.
• All the paintings. Have been decorated with border around it which are more ornamented .
• some painting borders are more prominent the painting ,or we can say that painting lost
its dominance due to the border decoration.
 ROYAL SPLENDOR
• The emperors craved for royal splendor and discipline.
• Mostly painting cam be seen with emperor sitting
• Royal style and the artists are dancing, singing or playing on instruments with discipline.
• We find typical atmosphere of royalty even in the gathering can be seen.
HISTORICAL SCENES
• Mostly historical scenes have been painted in Mughal school.
• Maximum paintings of historical scenes were done in Akbar’s time,
• He give much importance to the manuscript painting as Kissa-Amir-Hamza.
FINE ELINE DRAWING
• The beautiful thin and thick fine lines.
• Can be seen in portrait’s drawing.
• The artist have tried to paint each and every Facial expression are beautifully drawn.
• Every minute details even hairs at face can be seen.
 PORTRAIT PAINTING
• There is an a boundance of portrait paintings in the Mughal school .
• Maximum porarait paintings were done during Sahjahan’s period reign.
GARMENTS
• Garments are beautifully and ornamentally painted in the Mughal paintings.
• Transparent chunnis have been painted.
• Most of the garments are of summer season.
• The male figures are shown wearing Angarkhas and Churidar Pajamas.
• Turbans on their heads can be seen, which are well decorated.
• The use of stripling ( pardaz) is shown with delicate shading.
ORNA MENTAL DESIGNS
• All the paintings of courts we find, have beautiful ornamental designs on walls of palaces,
ceiling and floors.
• The designs are Geometrical,floral and creepers are rhythmic
 DEPICATION OF NATURE
• Tree, plants, River and Mountains rts. Have been beautifully depicted in Mughal painting .
• The natural scenes painted show hunting scenes, battele scenes, A Lion is shown trying to eat
his prey.
• If there had been three types of trees in a painting, their leaves were painted differently with
accuracy.
ORNAMENTAL DESIGNS
• Designs can be seen on the walls of places, celling and floors.
• Drsingns are Geometrical, floral and creepers and rhythmic and smooth,
EXPRESSION OF IDEAS
• Expressions can be seen as sad emperor, obedient servants, restless queen and nervous
boatmen are noteworthy.
• Similarly, every idea is clearly visible in the painting.
SCENES
• Crowdy scenes can be seen in the Painting.
 GOLDEN AND SILVER COLOURS
•Golden and Silver colours have been mostly used in painting.
•In the necklaces and footwear's the Golden and Silver colours are used with care
•In borders also there is wonderful use of golden colour.
USE OF CALLIGRAPHY
•Most of the paintings have Calligraphy on it black ink.
•Even Artist’s name have been written beautifully.
DEPICTION OF ANIMALS AND BIRDS
•Animals and bird is main characteristic of Mughal art.
•Ustad Mansoor was the best bird painter.
•Elephant fights, Camel fights have also painted beautifully.
•Lions, Tigers, Horse and Goats etc. have been used in painting.
NATURAL COLOUR
•Mostly mineral and natural and In the beginning flat colour
•but later on one can also see depth with delicate shading of colours.
•The appropriate colours have been applied with great care in painting.
SALIENT FEATURES OF MUGHAL ART
• The art of the court ,secular and eclectic in its character.
• The use of calligraphy with artist name.
• The portraiture-delineation of fine likeness.
• The representation of minute details. Nature as a special study.
• The face are usually painted profile ( Ek chasm )
• The use of mineral and natural colours with silver and golden.
• Painted border decoration used in Arabic script.
• The delicacy is maintained in figures and Architectural forms.
• The depiction of court scenes, hunting and battle scenes, music and dancing scenes,
processions and wedding scenes etc.
• The depiction of feign and religious stories specially Islamic and Indian epics like the
Ramayana ,the Mahabharata, Nal Damyanti etc.
• The Naturalistic treatment of Landscape borrowed from European paintings
• The use of stripling ( Pardaz ) and delicate shading.
 SHORT NOTE ON MUGHAL PAINTING
• Mughal paintings show the habits and customs of the ruling class.
• They were mainly done to add to the illustrations of the books.
• The painting are mainly male dominated as the ladies of the Mughal family did not
come out in the public without the Burkha so their paintings were mostly the work of
imagination of the painter.
• Painting was not done by a single artist but was a work of 2-5 artist.
• Main artist did the layout and junior artist did the figure and painted the background.
• Portraits have been the main feature of Mughal painting. portraits started with the
Mughal painting only.
• Most of the figures have been shown in profile or quarter profile.
• Nature like birds, animals, and flowers, have been also shown.
• Use of calligraphy and halo around the emperor was also done.
• The border of the painting was also very decorative.
Study and appreciation of the following Mughal painting

• Art during Akbar period – Krishna Lifting Mount Goverdhana - Painter – Miskin
• Art during Akbar period- Birth of Salim - Painter- Ramdas
• Art during Jahangir period - Falcon on a bird-rest- Painter – Ustad Mansoor
• Art during Sahjahan period - Kbir and Raidas- Painter – Ustad Faquirullah Khan
• Provincial Mughal period – Marriage procession of Dara Shikoh- painter- Haji
Madni
KRISHNA LIFTING MOUNT GOVERDHANA-AKBAR PERIOD

• Painter – Miskin
• Medium – water colour on paper
• Circa – 1585-1590
• Period – Akbar
• Technique – Tempera
• Collection –National Museum New Delhi
• Subject matter – This painting based on the story of
Lord Krishna.
• Theme has been taken from the Bhagwata Puran.
• It is a story when Krishna left the Goverdhan mountain
on his little finger to save people of Gokul from the
anger of God Indira due to heavy rains.
DESCRIPTION- KRISHNA LIFTING MOUNT GOVERDHANA- AKBAR PERIOD

• This painting is a specific creation of Akbar’s library .

• This was drawn for the manuscript of Harivans Puran .
• In this picture, blue- skin Krioshna has been shown lifting up the multi-
coloured Goverdhana parvata on his left hand as if it is weightless.
• Krishna has worn yellow clothes.
• There are several multi-coloured wreaths around his neck.
• One of the wreaths is made up of white, red ,yellow and blue flowers and
spread from his shoulders to his feet.
• He worn a crown on his head which is made of peacock’s tail feathers.
• He has been shown bending his neck down, and saying something to those
Gokul dwellers who are standing with their cattle under the umbrella-shaped
hill to refrain themselves from Indra’s wrath.
• The hill has been shown with the lights of different colours in Persian style; up
on the many kinds of creatures have been shown wandering here and there.
• Afew of the three have been shown with green and green –yellow colours.
• The dense clouds, over the hill,have been shown with dark blue colour.
BIRTH OF SALIM – AKBAR PERIOD
• Painter – Ramdas
• Medium –Water colour on paper
• Circa- 1560 A.D
• Period –Akbar period
• Technique- Tempera
• Collection – National Museum, new Delhi
• Subject Matter –this painting basedon an Akbar Nama by
Abul Fazal
• It was on the occasion on birth of prince Salim
• The whole people of Fatehpursikri and courtiers played
music and celebrating the occasion.
• Some of the plying drum,clarinet and other instruments, and
royal officials distributing bounty to the people of
Fathehpursikri
DESCRIPTION- BIRTH OF SALIM- AKBAR PERIOD

• It is a typical example of the later Manner of Emperor court artist.

• The birth scene of the son of Akbar and heir on August 31st 1569, forms the subject of
the upper compartment into which the picture is divided, three part, the other two
being filled with musicians and servants, with the surging excited crowed outside.
• Beyond is a rocky landscape.
• The painting is a good example of the bustling movement and stress which Akbar’s
painters often introduction in to their work.
• Among other points of interest in the painting is that the upper portion is the typical
bird’s eye view while for the lower panel the artist ( Ramdas ) is on a level with the
scene depicted.
• COLOUR SCHEME – Strong colour contrast in draperies,skintones, architecture and
interiors.this has light and shade in all it’s visual imaginaryan European influnceis
shown on the picture.
• ARTIST –RAMDAS- Ramdas was Akbar period Miniature painter
• He worked on many miniature Painters.his one of the major productions is the
illustration of the the autobiography of the first Mughal emperor Babur 1526-30,the
Baburnama, the manuscript was presented to Akbar in 1589.He contributed to
several of the major production of the royal workshop during the final two decades
of the Mughal emperor Akbar.
FALCON ON A BIRD-REST –JAHANGIR PERIOD
• Name – Falcon on a Bird-Rest
• Painter – Ustad mansoor
• Medium – Water colour on paper
• Circa – 1618-19
• Period - Jahangir
• Technique- Tempera
• Collection – Maharaja Sawaiman Singh, Museum ,
Jaipur
• Subject Matter – This famous painting painted by
Ustad Mansoor during Jahangir period
• He was a keen falconer and treasured fine
specimens of Falcons, brought from different place.
• Brought a very nice falcon from Persia which was
killed by a cat . Jahangir asked his best painter to
paint his precious pet falcon to be preserved in
Jahangir nama.
DESCRIPTION-FALCON ON A BIRD-REST-JAHANGIR PERIOD
• This is the best specimen of bird painting composed in
Jahangir’s atelier .
• Preserved in the Jahangirnama this beautiful, charming painting
was painted by Ustad Mansoor in 1618-19 A.D
• It is supposed that this falcon was presented ( gifted ) to
Jahangir by Shah Abbas, the Emperor of lran.
• Later it was killed by a cat.
• Jahangie’s rare and excellent pet-falcon as a picture, is
preserved in jahangirnama .
• The bird is painted in a white against the yellow background
contrasted with the brownish black feathers of its folded wing.
• An isolated figure of the falcon shown on its perch in rigid
profile is centrally positioned in the composition.
• Dark brown markings all over the wings suggest that it is in the
likeness of the pet-falcon of Jahangir .
FALCON ON A BIRD-REST BIRD – JAHANJIR PERIOD
• The expression of cruelty in its eyes is an item of great
astonishment to those who have seen it.
• The sharp beak and round vigilant ryes are painted in shades of
deep yellow ochre.
• The patches of dark brown marks are shown on the back feathers
of its neck.
• A thin string is tied around the falcon’s neck and hangs loosely to
the ground.
• Parts of an inscription in Devnagri script are still visible in the
painting.
• Three words Jahangir paat Syah Bahari’ and ‘ Uttam ’ are written
which perhaps refer to the emperor’s best falcon.
• In all the four sides is made border with black colour, on which
golden coloured figure are drawn.
• This is the speciality of the paintings painted in Jahangir’s regime.
KABIR AND RAIDAS –SHAH JAHAN PERIOD -
• Painter – Ustad Faquirullah Khan
• Medium – Water colour on paper
• Circa – 1640- A.D
• Period –Shahjahan
• Technique – Tempera
• Collection – National museum New Delhi
• Subject matter- This painting belongs to the era of Dara
Sikoh ( son of Shahjahan ) who respected all religions
equally.
• This painting shows 2 prominent saints of that time –
Kabir and Raidas.
• Dara Sikoh being a muslim has shown Hindu Saints in the
painting.
• Dara Sikoh had great regard for the Hindu Saints of his
time.
• This painting give massage equality, secularism.
DESCRIPTION - KABIR AND RAIDAS- ShAJAHAN PERIOD - 1660 .D

• This is Horizontal painting

• Dara Shikoh paid due respect to Sufis and saints .
• during Shahjahan’s period, the fame of saint kabir and raidas was
spread far and wide. Having effected on this very reason,
• In this picture saint Kabir has been shown weaving cloth out of his hut.
• Close to him saint Raidas is sitting on a carpet on the ground.
• Both the saints seem discussing on some mystery.
• The tracing of ribs on half- naked body is apparent.
• Both the saints have tied turbans on their heads.
• In the painting ,the delineation of rural surrounding is real.
• Tracing of the but is clear.
• the painter seems to be successful in making the picture live with
numerous shades of only Broun ,black and white colours
• On all the four sides of the picture, the painter has drawn borders of
sufficient width with two colours which is the specialty of that school.
MARRIAGE PROCESSION OF DARA SIKOH – PROVINCIAL MUGHAL PERIOD
• Name – Marriage procession
• Painter – Haji Madni
• Medium – water colours on paper
• Period – Provincial period
• Technique – Tempera
• Collection – National Museum New Delhi
• Subject Matter – This painting is based on the
marriage procession of dara Shikoh.
• This painting suggest that the artist was aware
of historical account of Dara Sikoh’s fabulous
marriage involving a cost of RS. Thirty rwo
lack,the half of which amount was spent by his
elder sister Jahangir Begum .
• Dara Sikoh got married to Nadira Begum in
1633 A.D.
DESCRIPTION - MARRIAGE PROCESSION OF DARA SHIKOH-
PROVINCIAL PERIOD
• Haji Madni has composed this miniature very placidly and
clearly on a bigger paper, with tempera
• In this multi-colored and extensive painting, a group of persons
has been shown on the right side standing on the ground and
another one is on the left side mounted on horses of different
colour and elephants which have been shown in foes.
• In this painting the painter has shown the distinctive marriage
procession of Dara Sikoh.
• The elephant have been used for female members of groom side.
• A few Male members of marriage procession have also been
mounted on elephants for beating the big-sized kettle-drums. On
the right side, the painter has shown a well-equipped group of
people of the bride family.
• Ladies are also included in this group.
• These persons have been shown waiting eagerly to welcome the
groom and other associations.
DESCRIPTION- MARRIAGE PROCESSION OF DARA SHIKOH –
AKBAR PERIOD
• In the middle of the picture ,the painter has shown Dara Sikoh mounted on a
hale and hearty dark brown coloured caparisoned horse, in well-decorated
royal apparels, covering his face with the strands made of pearls.
• The persons of the royal family are standing together with him.
• Behind him has been shown Shahjahan mounted on a caparisoned horse,in
royal apparels and manner.
• Around his face has been show holo with green colour.
• In the background, some apace has been left blank.
• The colourful display of fireworks has been shown in back part of the picture.
• In front part a young boy has been shown dancing Some persons of the
bridegroom’s side, taken a well—equipped platter as a gift, are standing in
the front row.
• Orderly constructions around the four side of this painting with red and blue
colour on a base of golden colour are used as a border.
• The skills and endurance of the painter is praiseworthy.
• This painting is a unique example of Subai Mughal style or Provincial Mughal
Style.