Evolution of Mughal Painting
Log Entry: The Visual Language of Power
Mughal painting wasn't just art; it was a socio-political tool used to document the grandeur of a burgeoning empire. As I study the delicate brushwork of the 17th century, I'm struck by the patience required for such precision. In my own life, managing a 1500-word study target alongside a strict calorie deficit requires that same "miniaturist" mindset—focusing on the tiny, daily details to create a masterpiece of discipline. Success is a slow-drying pigment; you have to let it set correctly.
I. The Persian Roots: Babur and Humayun
The Exile and the Artists (1540 AD – 1555 AD)While Babur introduced a love for nature in his memoirs, the *Baburnama*, it was Humayun who provided the spark. During his exile in Persia (1540 AD – 1555 AD), he was exposed to the Safavid school of painting. Upon his return to India in 1555 AD, he brought two master painters with him: Mir Sayyid Ali and Abdus Samad. These two individuals became the founding fathers of the Mughal Karkhana (atelier).
The Birth of the Mughal Style (1556 AD)Under Humayun, the style was purely Persian—flat, decorative, and colorful. However, the Indian landscape and local colors soon began to bleed into the canvases, setting the stage for the stylistic revolution of the next half-century.
II. Akbar: The Age of Manuscript Illustration
The Tasvir Khana and the Hamzanama (1562 AD – 1577 AD)Akbar was a visionary who believed painting was a way to know God. He established the *Tasvir Khana* and commissioned the massive Hamzanama project (1562 AD – 1577 AD), which consisted of 1,400 large illustrations on cloth. During this phase, paintings were collaborative, with one artist sketching, another coloring, and a third doing the fine finishing work.
Synthesis of Styles (1580 AD – 1600 AD)Around 1580 AD, the style became a unique blend of Persian, Indian (Rajasthani), and European influences. The introduction of Basawan and Daswant—two local painters—brought Indian sensibilities like dynamic movement and emotional depth to the court. Key manuscripts from this era include the Razmnama (Mahabharata in Persian) completed in 1584 AD and the Akbarnama in 1590 AD.
III. Jahangir: The Zenith of Naturalism
Shift to Portraiture and Nature (1605 AD – 1615 AD)Jahangir had a sophisticated eye and moved the art away from mass-produced manuscripts toward individual masterpieces. He prized realism. In 1610 AD, his court painters like Abul Hasan and Ustad Mansur began producing hyper-realistic studies of birds, animals, and flowers.
European Influence and the Halo (c. 1620 AD)By 1620 AD, through contact with the Jesuits and British envoys, European techniques like chiaroscuro (shading) and foreshortening became standard. Jahangir was the first to use the "divine halo" in portraits to signify his semi-divine status, a trend that continued until the end of the empire.
IV. Shah Jahan: The Era of Grandeur
Formality and the Padshahnama (1630 AD – 1648 AD)Under Shah Jahan, paintings became more rigid and formal, reflecting the discipline of the court. The Padshahnama (begun c. 1630 AD) is the defining work of this era, showing grand court scenes with thousands of tiny, perfectly rendered faces. While technically perfect, the art began to lose the spontaneous energy found in Akbar's time.
Use of Gold and Jewels (c. 1650 AD)By 1650 AD, the use of gold leaf and expensive pigments (lapis lazuli) increased, matching the opulence of the Taj Mahal and the Peacock Throne. The paintings were no longer just art; they were displays of immense wealth.
V. Aurangzeb and the Decline
The Withdrawal of Patronage (1668 AD)Aurangzeb’s orthodox views led him to withdraw royal patronage for painting around 1668 AD. Many painters migrated to regional courts (Kangra, Rajputana, and Deccan), which led to the birth of vibrant Provincial Mughal styles.
The Final Flare (1707 AD – 1857 AD)Though Muhammad Shah 'Rangeela' attempted a brief revival in 1720 AD, the sack of Delhi by Nadir Shah in 1739 AD scattered the artists permanently. By 1850 AD, the tradition had faded into the "Company School" style under British influence.
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