Mughal painting - wikipedia Mughal painting This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. ( October 2011 ) Babur Receives a Courtier by Farrukh Beg c. 1580 - 85. Opaque watercolor and gold on paper, painted and mounted within borders of a Rawżat aṣ - ṣafāʾ page. Freer Sackler Gallery S1986. 230 17th - century Mughal painting Painting by Ustad Mansur ( fl. 1590 - 1624 ), who came to prominence during the reign of Jahangir Mughal paintings are a particular style of South Asian painting, generally confined to miniatures either as book illustrations or as single works to be kept in albums, which emerged from Persian miniature painting ( itself largely of Chinese origin ), with Indian Hindu, Jain, and Buddhist influences, and developed largely in the court of the Mughal Empire of the 16th to 18th centuries. Mughal paintings later spread to other Indian courts, both Muslim and Hindu, and later Sikh. The mingling of foreign Persian and indigenous Indian elements was a continuation of the patronisation of other aspects of foreign culture as initiated by the earlier Turko - Afghan Delhi Sultanate, and the introduction of it into the subcontinent by various Central Asian Turkic dynasties, such as the Ghaznavids. Contents 1 Origins 2 Development 2.1 Humayun ( 1530 -- 40 and 1555 -- 56 ) 2.2 Akbar ( 1556 - 1605 ) 2.3 Jahangir ( 1605 -- 25 ) 2.4 Shah Jahan ( 1628 -- 59 ) 3 Later paintings 4 Artists 5 Mughal style today 6 Gallery 7 See also 8 Notes 9 References 10 Further reading 11 External links Origins This art of painting developed as a blending of Persian and Indian ideas. There was already a Muslim tradition of miniature painting under the Turko - Afghan Sultanate of Delhi which the Mughals overthrew, and like the Mughals, and the very earliest of Central Asian invaders into the subcontinent, patronized foreign culture. Although the first surviving manuscripts are from Mandu in the years either side of 1500, there were very likely earlier ones which are either lost, or perhaps now attributed to southern Persia, as later manuscripts can be hard to distinguish from these by style alone, and some remain the subject of debate among specialists. By the time of the Mughal invasion, the tradition had abandoned the high viewpoint typical of the Persian style, and adopted a more realistic style for animals and plants. No miniatures survive from the reign of the founder of the dynasty, Babur, nor does he mention commissioning any in his diaries, the Baburnama. Copies of this were illustrated by his descendents, Akbar in particular, with many portraits of the many new animals Babur encountered when he invaded India, which are carefully described. However some surviving un-illustrated manuscripts may have been commissioned by him, and he comments on the style of some famous past Persian masters. Some older illustrated manuscripts have his seal on them ; the Mughals came from a long line stretching back to Timur and were fully assimilated into Persianate culture, and expected to patronize literature and the arts. Mughal painting immediately took a much greater interest in realistic portraiture than was typical of Persian miniatures. Animals and plants were also more realistically shown. Although many classic works of Persian literature continued to be illustrated, as well as Indian works, the taste of the Mughal emperors for writing memoirs or diaries, begun by Babur, provided some of the most lavishly decorated texts, such as the Padshahnama genre of official histories. Subjects are rich in variety and include portraits, events and scenes from court life, wild life and hunting scenes, and illustrations of battles. The Persian tradition of richly decorated borders framing the central image was continued. The style of the Mughal school developed within the royal atelier. Knowledge was primarily transmitted through familial and apprenticeship relationships, and the system of joint manuscript production which brought multiple artists together for single works. Development Humayun ( 1530 -- 40 and 1555 -- 56 ) Princes of the House of Timur, attributed to Abd as - Samad, c. 1550 -- 55. The Parrot addresses Khojasta, a scene from the Tutinama. Reign of Akbar. Emperor Jahangir weighs Prince Khurram by Manohar Das, 1610 - 15. British Museum The Emperor Shah Jahan standing on a globe, c. 1618 - 19 to 1629. Opaque Watercolor, ink and gold on paper. Freer Sackler Gallery F1939. 49a When the second Mughal emperor, Humayun was in exile in Tabriz in the Safavid court of Shah Tahmasp I of Persia, he was exposed to Persian miniature painting, and commissioned at least one work there, an unusually large painting of Princes of the House of Timur, now in the British Museum. When Humayun returned to India, he brought two accomplished Persian artists Abd al - Samad and Mir Sayyid Ali with him. His usurping brother Kamran Mirza had maintained a workshop in Kabul, which Humayan perhaps took over into his own. Humayan 's major known commission was a Khamsa of Nizami with 36 illuminated pages, in which the different styles of the various artists are mostly still apparent. Apart from the London painting, he also commissioned at least two miniatures showing himself with family members, a type of subject that was rare in Persia but was to be common among the Mughals. Mughal painting developed and flourished during the reigns of Akbar, Jahangir and Shah Jahan. Akbar ( 1556 - 1605 ) During the reign of Humayun 's son Akbar ( r. 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. Akbar inherited and expanded his father 's library and atelier of court painters, and paid close personal attention to its output. He had studied painting in his youth under Abd as - Samad, though it is not clear how far these studies went. Between 1560 and 1566 the Tutinama ( `` Tales of a Parrot '' ), now in the Cleveland Museum of Art was illustrated, showing `` the stylistic components of the imperial Mughal style at a formative stage ''. Among other manuscripts, between 1562 and 1577 the atelier worked on an illustrated manuscript of the Hamzanama consisting of 1,400 canvas folios. Sa'di 's masterpiece The Gulistan was produced at Fatehpur Sikri in 1582, a Darab Nama around 1585 ; the Khamsa of Nizami ( British Library, Or. 12208 ) followed in the 1590s and Jami 's Baharistan around 1595 in Lahore. As Mughal - derived painting spread to Hindu courts the texts illustrated included the 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. Between the years of 1570 to 1585 Akbar hired over a one hundred painters to practice Mughal style painting. Jahangir ( 1605 -- 25 ) Jahangir had an artistic inclination and during his reign Mughal painting developed further. Brushwork became finer and the colors lighter. Jahangir was also deeply influenced by European painting. During his reign he came into direct contact with the English Crown and was sent gifts of oil paintings, which included portraits of the King and Queen. He encouraged his royal atelier to take up the single point perspective favoured by European artists, unlike the flattened multi-layered style used in traditional miniatures. 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 an autobiographical account of Jahangir 's reign, has several paintings, including some unusual subjects such as the union of a saint with a tigress, and fights between spiders. Shah Jahan ( 1628 -- 59 ) During the reign of Shah Jahan ( 1628 -- 58 ), Mughal paintings continued to develop, but court paintings became more rigid and formal. The illustrations from the `` Padshanama '' ( chronicle of the King of the world ), one of the finest Islamic manuscripts from the Royal Collection, at Windsor, were painted during the reign of Shah Jahan. Written in Persian on paper that is flecked with gold, has exquisitely rendered paintings. The `` Padshahnama '' has portraits of the courtiers and servants of the King painted with great detail and individuality. In keeping with the strict formality at court, however the portraits of the King and important nobles was rendered in strict profile, whereas servants and common people, depicted with individual features have been portrayed in the three - quarter view or the frontal view. 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. Later paintings 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 they believed that he was about to close the workshops and thus exceeded themselves in his behalf. There was a brief revival during the reign of Muhammad Shah ' Rangeela ' ( 1719 -- 48 ), but 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. Late Mughal style often shows increased use of perspective and recession under Western influence. Artists This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. ( October 2011 ) A durbar scene with the newly crowned Emperor Aurangzeb in his golden throne. Though he did not encourage Mughal painting, some of the best work was done during in his reign. The Persian master artists Abd al - Samad and Mir Sayyid Ali, who had accompanied Humayun to India in the 16th century, were in charge of the imperial atelier during the formative stages of Mughal painting. Many artists worked on large commissions, the majority of them apparently Hindu, to judge by the names recorded. Mughal painting flourished during the late 16th and early 17th centuries with spectacular works of art by master artists such as Basawan, Lal, Daswanth, and Miskin. Another influence on the evolution of style during Akbar 's reign was Kesu Das, who understood and developed `` European techniques of rendering space and volume ''. Govardhan was a noted painter during the reigns of Akbar, Jahangir and Shah Jahan. The sub-imperial school of Mughal painting included artists such as Mushfiq, Kamal, and Fazl. During the first half of the 18th century, many Mughal - trained artists left the imperial workshop to work at Rajput courts. These include artists such as Bhawanidas and his son Dalchand. Mughal painting generally involved a group of artists, one to decide the composition, the second to actually paint, and the third to focus on portraiture, executing individual faces. Mughal style today Mughal - style miniature paintings are still being created today by a small number of artists in Lahore concentrated mainly in the National College of Arts. Although many of these miniatures are skillful copies of the originals, some artists have produced contemporary works using classic methods with, at times, remarkable artistic effect. The skills needed to produce these modern versions of Mughal miniatures are still passed on from generation to generation, although many artisans also employ dozens of workers, often painting under trying working conditions, to produce works sold under the signature of their modern masters. Gallery Portrait of Akbar Portrait of Bahadur Shah A noble lady, Mughal dynasty, India. 17th century. Color and gold on paper. Freer Gallery of Art F1907. 219 A Mughal prince and ladies in a garden Nur Jahan Shah Jahan on a terrace holding a pendant set with his portrait Daud Khan Karrani receives a Kaftan of honor from Munim Khan A Mughal tournament Victory of Ali Quli Khan on the river Gomti - Akbarnama, 1561 Mir Sayyid Ali 's depiction of a young scholar in the Mughal Empire, reading and writing a commentary on the Quran, 1559. The scribe and painter of the Khamsa of Nizami manuscript for Akbar Battle scene from the Hamzanama of Akbar, 1570 The Submission of the rebel brothers Ali Quli and Bahadur Khan. Akbarnama, 1561 Akbar riding the elephant Hawa'I pursuing another elephant across a collapsing bridge of boats ( right ), 1561 Pir Muhammad Drowns While Crossing the Narbada - Akbarnama, 1562 Akbar receiving his sons at Fatehpur Sikri. Akbarnama, 1573 Lion at rest Met A young woman playing a Veena to a parakeet, a symbol of her absent lover. 18th - century painting in the provincial Mughal style of Bengal Female performer with a tanpura, 18th century. Color and gold on paper. Freer Gallery of Art F1907. 195 Ascetic Seated on Leopard 's Skin, late 18th century Mughal Ganjifa Playing Cards, Early 19th century, with miniature paintings - courtesy of the Wovensouls collection See also Persian miniature Ottoman miniature Indian painting Tanjore painting Rajput painting Madhubani painting Mushfiq, a sub-imperial Mughal painter Notes Jump up ^ Titley, 161 - 166 Jump up ^ Titley, 161 Jump up ^ Titley, 187 Jump up ^ Sarafan, Greg ( 6 November 2011 ). `` Artistic Stylistic Transmission in the Royal Mughal Atelier ''. Sensible Reason. Jump up ^ Grove Jump up ^ Grove Jump up ^ Beach, 58 Jump up ^ Beach, 49 Jump up ^ Grove Jump up ^ Eastman Jump up ^ Britannica Jump up ^ Commentary by Stuart Cary Welch Jump up ^ Diamind, Maurice. `` Mughal Painting Under Akbar the Great '' Metropolitan Museum of Art Jump up ^ Bloom, Jonathan M. ; Blair, Sheila S. ( 2009 ). The Grove Encyclopedia of Islamic Art and Architecture. 1. Oxford University Press. p. 380. ISBN 978 - 0 - 19 - 530991 - 1. Jump up ^ Britannica Jump up ^ Basawan & Chitra ( c. 1590 - 95 ). `` The Submission of the rebel brothers Ali Quli and Bahadur Khan - Akbarnama ''. Akbarnama. Check date values in : date = ( help ) References Beach, Milo Cleveland, Early Mughal painting, Harvard University Press, 1987, ISBN 0 - 674 - 22185 - 0, ISBN 978 - 0 - 674 - 22185 - 7 Eastman, Alvan C. `` Mughal painting. '' College Art Association. 3.2 ( 1993 ) : 36. Web. 30 Sep. 2013. `` Grove '', Oxford Art Online, `` Indian sub., § VI, 4 ( i ) : Mughal ptg styles, 16th -- 19th centuries '', restricted access. `` Mughal Painting. '' Encyclopædia Britannica. Encyclopædia Britannica Academic Online Edition. Encyclopædia Britannica Inc., 2013. Web. 30 Sep 2013. Titley, Norah M., Persian Miniature Painting, and its Influence on the Art of Turkey and India, 1983, University of Texas Press, 0292764847 Sarafan, Greg, `` Artistic Stylistic Transmission in the Royal Mughal Atelier '', Sensible Reason, LLC, 2007, SensibleReason.com Further reading Kossak, Steven. ( 1997 ). Indian court painting, 16th - 19th century. Metropolitan Museum of Art. ISBN 0870997831 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 ) Chitra, Die Tradition der Miniaturmalerei in Rajasthan by K.D. Christof & Renate Haass, 1999 ( ISBN 978 - 3 - 89754 - 231 - 0 ) Welch, Stuart Cary ; et al. ( 1987 ). The Emperors ' album : images of Mughal India. New York : The Metropolitan Museum of Art. ISBN 0870994999. Welch, Stuart Cary ( 1985 ). India : art and culture, 1300 - 1900. New York : The Metropolitan Museum of Art. ISBN 9780944142134. Artistic Stylistic Transmission in the Royal Mughal Atelier by Greg Sarafan, Esq., 2007 External links Indian Court Painting, 16th - 19th Century from the Metropolitan Museum of Art National Museum, Delhi - Mughal paintings San Diego Museum of Art Islamic art Architecture Regional styles Ayyubid Azerbaijani Chinese Indo - Islamic Indonesian Moorish Moroccan Mudéjar Mughal Ottoman Pakistani Persian Somali Sudano - Sahelian Tatar Timurid Umayyad Elements Ablaq Banna'i Iwan Jali Mashrabiya Mihrab Minaret Mocárabe Muqarnas Yeseria See also Decoration Arts Regional styles Persian ( Early, Qajar, Safavid ) Turkish ( Ottoman ) Carpets Gul Kilim Motifs Persian Turkish Prayer Pottery Azulejo Fritware Hispano - Moresque İznik Lustreware Persian Chinese influence Textiles Batik Damask Ikat Embroidery Soumak Suzani Woodwork Khatam Minbar Other media Brass Damascus steel Glass Hardstone carving Ivory carving Stained glass Shabaka Arts of the book Miniatures Arabic Mughal Ottoman Persian Calligraphy Arabic Diwani Kufic Muhaqqaq Naskh Nastaʿlīq Persian Sini Taʿlīq Thuluth Tughra Other arts Muraqqa Hilya Ottoman illumination Decoration Arabesque Geometric patterns Girih ( tiles ) Zellige The garden Charbagh Mughal Ottoman Paradise Persian Museums Berlin Cairo Doha Ghazni Istanbul ( Arts, Calligraphy Art ) Jerusalem ( Islamic Museum, L.A. Mayer Institute ) Kuala Lumpur London ( British Museum, V&A ) Los Angeles Marrakech ( Museum, Majorelle Garden ) Melbourne Paris ( Arab World Institute, Louvre ) Singapore Toronto ( Aga Khan ) Tripoli Principles, influences Islamic Art : Mirror of the Invisible World Aniconism in Islam Indo - Saracenic Revival Islamic world contributions to Medieval Europe Influences on Western art Grotesque Moresque Mathematics and architecture Moorish Revival Oriental carpets in Renaissance painting Pseudo-Kufic Stilfragen Topkapı Scroll Mughal Empire Emperors Babur Humayun Akbar Jahangir Shah Jahan Aurangzeb ( Alamgir ) Muhammad Azam Shah Bahadur Shah I Jahandar Shah Farrukhsiyar Rafi ud - Darajat Shah Jahan II Muhammad Shah Ahmad Shah Bahadur Alamgir II Shah Jahan III Shah Alam II Akbar II Bahadur Shah II Battles and conflicts Battle of Panipat ( 1526 ) Gujarat conquest Battle of Khanwa Battle of Ghaghra Siege of Sambhal Battle of Panipat ( 1556 ) Battle of Thanesar Siege of Chittorgarh Siege of Ranthambore Battle of Tukaroi Battle of Raj Mahal Battle of Haldighati Battle of Bhuchar Mori Siege of Kandahar Mughal -- Safavid War ( 1622 -- 23 ) Siege of Orchha Mughal -- Safavid War ( 1649 -- 53 ) Battle of Samugarh Battle of Khajwa Suppression of Tilpat rebellion Ahom -- Mughal conflicts Siege of Purandhar Tibet -- Ladakh -- Mughal War Mughal -- Maratha Wars Siege of Bijapur Siege of Jinji Child 's War Siege of Golconda Battle of Karnal Third Battle of Panipat Battle of Buxar Siege of Delhi Architecture Taj Mahal Gardens of Babur Fatehpur Sikri Tomb of Salim Chishti Humayun 's Tomb Red Fort Lahore Fort Jahangir Mahal Lalbagh Fort Akbar 's Tomb Agra Fort Chawk Mosque Shalimar Gardens Achabal Gardens Jahangir 's Tomb Bibi Ka Maqbara Badshahi Mosque Shahi Bridge Shah Jahan Mosque, Thatta Sheesh Mahal Sunehri Masjid Tipu Sultan Mosque Wazir Khan Mosque more Adversaries Ibrahim Lodi Rana Sanga Sher Shah Suri Hemu Maharana Pratap Malik Ambar Gokula Pratapaditya Shivaji Lachit Borphukan Khushal Khattak Sir Josiah Child Guru Gobind Singh Henry Every Bajirao I Nader Shah Hector Munro Provinces Bengal Subah Gujarat Subah See also Art Cuisine Culture Flag Gardens Language Military Painting Persians Tribe Weapons Timurid dynasty family tree Successor states Maratha Empire Rajput states Jats Sikh Empire Nawabs of Bengal Awadh Nizam of Hyderabad Carnatic Kingdom of Mysore Rohilkhand Islamic calligraphy Styles Arabic Hijazi Jeli Thuluth Kufic ( Geometric Kufic ) Maghrebi Muhaqqaq Mashq Naskh Thuluth Ottoman Diwani Tawqi ( Tevki ) Ruq'ah Persian Nasta'liq Taʿlīq Others Sini Objects Arabic calligraffiti Arabic miniature Basmala Islamic calligram Firman Hilya Islamic illuminated manuscript Mughal miniature Muraqqa Ottoman illumination Ottoman miniature Persian miniature Tughra Islamic zoomorphism Calligraphers List of Arabic calligraphers List of Ottoman calligraphers List of Persian calligraphers Tools Techniques Kashida Qalam Word heaping Organizations Al - Furqan Islamic Heritage Foundation Museum of Turkish Calligraphy Art Society of Iranian Calligraphists Influences Pseudo-Kufic Part of Islamic arts Wikimedia Commons has media related to Mughal miniatures. Retrieved from `` https://en.wikipedia.org/w/index.php?title=Mughal_painting&oldid=841341975 '' Categories : Schools of Indian painting Indian painting Islamic illuminated manuscripts Mughal Empire Pakistani painting Mughal art Islamic arts of the book Hidden categories : CS1 errors : dates Articles needing additional references from October 2011 All articles needing additional references All articles with unsourced statements Articles with unsourced statements from July 2016 Talk Contents About Wikipedia Tools বাংলা Deutsch Español Français Қазақша Magyar 日本 語 پنجابی Polski Русский తెలుగు Українська 4 more Edit links This page was last edited on 15 May 2018, at 08 : 00. Text is available under the Creative Commons Attribution - ShareAlike License ; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia ® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization. About Wikipedia

Question: who introduced the element of perspective in mughal painting
Answer: Jahangir