Mughal painting

Mughal painting is a particular style of Indian painting, generally confined to illustrations on the book and done in miniatures, and which emerged, developed and took shape during the period of the Mughal Empire 16th -19th centuries).

Mughal paintings were a unique blend of Indian, Persian and Islamic styles. Because the Mughal kings wanted visual records of their deeds as hunters and conquerors, their artists accompanied them on military expeditions or missions of state, or recorded their prowess as animal slayers, or depicted them in the great dynastic ceremonies of marriages.

Akbar's reign (1556–1605) ushered a new era in Indian miniature painting. After he had consolidated his political power, he built a new capital at Fatehpur Sikri where he collected artists from India and Persia. He was the first morarch who established in India an atelier under the supervision of two Persian master artists, Mir Sayyed Ali and Abdus Samad. Earlier, both of them had served under the patronage of Humayun in Kabul and accompanied him to India when he regained his throne in 1555. More than a hundred painters were employed, most of whom were Hindus from Gujarat, Gwalior and Kashmir, who gave a birth to a new school of painting, popularly known as the Mughal School of miniature Paintings.


One of the first productions of that school of miniature painting was the Hamzanama series, which according to the court historian, Badayuni, was started in 1567 and completed in 1582. The Hamzanama, stories of Amir Hamza, an uncle of the Prophet, were illustrated by Mir Sayyid Ali. The paintings of the Hamzanama are of large size, 20 x 27" and were painted on cloth. They are in the Persian safavi style. Brilliant red, blue and green colours predominate; the pink, eroded rocks and the vegetation, planes and blossoming plum and peach trees are reminiscent of Persia. However, Indian tones appear in later work, when Indian artists were employed.
After him, Jahangir encouraged artists to paint portraits and durbar scenes. His most talented portrait painters were Ustad Mansur, Abul Hasan and Bishandas.
Shah Jahan (1627–1658) continued the patronage of painting. Some of the famous artists of the period were Mohammad Faqirullah Khan, Mir Hashim, Muhammad Nadir, Bichitr, Chitarman, Anupchhatar, Manohar and Honhar.
Aurangzeb had no taste for fine arts. Due to lack of patronage artists migrated to Hyderabad in the Deccan and to the Hindu states of Rajasthan in search of new patrons.

Western Indian miniature painting

In western India between the 10th to 12th century miniature painting developed. These small paintings were part of manuscripts written at the time and illustrate the subjects of the manuscripts. These miniatures are found in some Hindu and Jaina manuscripts and are of 2 to 4 inches in size. During 12th to 17th century western Indian miniature paintings flourish very rich. Modern western Indian states; Gujarat state and Rajasthan state were integrated into western India of that time. Particular manuscript miniature painting developed in the western part of India that is modern state of Gujarat. From 17th century “Rajput miniature painting " developed in the western part of India that is modern western state of Rajasthan. “Rajput miniature painting has its own style and beauty. 'Subjects- The subjects of these miniature paintings are in relation to the subjects of the manuscripts mostly religious and literary. Many paintings are from Sanskrit and folk literature. It is on the subject of love stories. Some paintings from Vaishnav sect of Hindu religion and some are from Jain cult. The Paintings of Vaishnav sect are regarding various occasions of the life of Lord Krishna and Gopies. Vaishnav paintings of "Gita Govinda" is about Lord Krishna. The paintings of Jain cult is concerning to Jain Lords and religious subjects. Equipments- These paintings were created on “Taadpatra” that means the leaf of the palm tree, and Paper. During that period earlier manuscripts were created from the leaf of the palm tree and later on from the paper. Characteristic- In these paintings there are very few human characters with front face are seen. Most of the human characters are seen with side profile. Big eyes, pointed nose and slim waist are the features of these paintings. The skin colours of human being are Brown and fair. The skin colour of the Lord Krishna is Blue. The colour of the hair and eyes is black. Women characters have long hair. Human characters have worn jewellery on hand, nose, neck, hair, waist and ankles. Man and women have worn traditional Indian dress, sleepers and shoes. Men have turbans on the head. In these paintings, trees,rivers,flowers,buirds,the land,the sky,houses,traditional chairs,cushion,curtains,lamps, and human characters have been painted. Colours-Mostly Natural colours have been used in these paintings.Black, Red, White, Brown, Blue, Yellow colours are used to decorate the paintings. Promoters- The Kings, Courtiers of the kings, wealthy businessmen, and Relegious leaders of that time were the promoters of these miniature paintings. Painters- Painters of these pictures were from the local society." Vaachhak " was the famous painter of that time.Painters tried to make the subject of the manuscript live by these pictures so that the readers of the manuscript can enjoy reading.


Malwa, Deccan and Jaunpur schools of painting
A new trend in manuscript illustration was set by a manuscript of the Nimatnama painted at Mandu, during the reign of Nasir Shah (1500–1510). This represent a synthesis of the indigenous and the Persian style, though it was the latter which dominated the Mandu manuscripts. There was another style of painting known as Lodi Khuladar that flourished in the Sultanate's dominion of North India extending from Delhi to Jaunpur.

The miniature painting style, which flourished initially in the Bahmani court and later in the courts of Ahmadnagar, Bijapur and Golkonda is popularly known as the Deccan school of Painting. One of the earliest surviving paintings are found as the illustrations of a manuscript Tarif-i-Hussain Shahi (c.1565), which is now in Bharata Itihasa Samshodhaka Mandala, Pune. About 400 miniature paintings are found in the manuscript of Nujum-ul-Ulum (Stars of Science) (1570), kept in Chester Beatty Library, Dublin.