Mughal painting
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Mughal painting is a particular style of Indian painting, generally confined to miniatures either as book illustrations or as single works to be kept in albums, which emerged from Persian miniature painting, with Indian influences, and developed during the period of the Mughal Empire (16th -19th centuries).
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[edit] Genesis
When the second Mughal emperor, Humayun (reigned 1530-1540 and 1555-1556) was in Tabriz in the Safavid court of Shah Tahmasp I, he was exposed to Persian miniature painting. When Humayun returned to India, he brought with him two accomplished Persian artists, Sayyid Ali and Abdus Samad. Their works, and the assimilation of local styles during succeeding decades, gave shape to a distinct style, which became known as Mughal painting. The Tutinama (literal meaning “Tales of a Parrot”), now in the Cleveland Museum of Art, is among the earliest examples of Mughal painting. The manuscript was made in the reign of Humayun's son, Akbar (r. 1556-1605).
[edit] Themes
Mughal painting was rich in variety and included portraits, events and scenes from court life, wild life and hunting scenes, and illustrations of battles. The Victoria and Albert Museum in London has a large and remarkable collection of Mughal paintings.
[edit] Development
Mughal painting developed and flourished during the reigns of Akbar, Jahangir and Shah Jahan.
During the reign of Akbar (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. Mughal painting thrived and hundreds of painters created innumerable paintings depicting scenes from various Hindu epics including the Ramayana and the Mahabharata; themes with animal fables; individual portraits; and paintings on scores of different themes. Mughal style during this period continued to refine itself with elements of realism and naturalism coming to the fore.
Jahangir (1605-27) had an artistic inclination and during his reign Mughal painting developed further. Brushwork became finer and the colors lighter. 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.
[edit] Decline
Aurangzeb (1658-1707) did not actively encourage Mughal paintings, but as this art form had gathered momentum and had a number of patrons, Mughal paintings continued to survive, but the decline had set in. Some sources however note that a few of the best Mughal paintings were made for Aurangzeb, speculating that the painters may have realized that he was about to close the workshops and thus exceeded themselves in his behalf.[1] A brief revival was noticed during the reign of Muhammad Shah (1719-48), and by the time of Shah Alam II (1759-1806), the art of Mughal painting had lost its glory. By that time, other schools of Indian painting had developed, including, in the royal courts of the Rajput kingdoms of Rajputana, Rajput painting and in the cities ruled by the British East India Company, the Company style under Western influence.
[edit] See also
[edit] References
[edit] Further reading
- Painting for the Mughal Emperor (The Art of the Book 1560-1660) by Susan Stronge (ISBN 0-8109-6596-8)
- Fiction in Mughal Miniature Painting by Prof. P. C. Jain and Dr. Daljeet
- Painting the Mughal Experience by Som Prakash Verma, 2005 (ISBN 0-19-566756-5)
[edit] External links
