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    Mughal Art 06112013

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    ChristySindhuja
    The Mughal school of painting originated from Persian art brought to India by Humayun and further developed during the reigns of Akbar, Jahangir, and Shah Jahan. Key characteristics include depictions of court life, portraits of rulers, and illustrations of events from literature. Major artists included Mir Sayyid Ali, Abdus Samad, Basawan, and Mansur. The style reached its peak under Jahangir with an emphasis on realism and detailed renderings of nature, people, and buildings. Shah Jahan and Aurangzeb provided less support, but the tradition continued under royal patrons and independent artists. Mughal paintings blended elements of various styles into a distinct Indian school that has

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    Mughal Art 06112013

    Uploaded by

    ChristySindhuja
    323 views14 pages
    The Mughal school of painting originated from Persian art brought to India by Humayun and further developed during the reigns of Akbar, Jahangir, and Shah Jahan. Key characteristics include depictions of court life, portraits of rulers, and illustrations of events from literature. Major artists included Mir Sayyid Ali, Abdus Samad, Basawan, and Mansur. The style reached its peak under Jahangir with an emphasis on realism and detailed renderings of nature, people, and buildings. Shah Jahan and Aurangzeb provided less support, but the tradition continued under royal patrons and independent artists. Mughal paintings blended elements of various styles into a distinct Indian school that has

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    The Mughal school of painting originated from Persian art brought to India by Humayun and further developed during the reigns of Akbar, Jahangir, and Shah Jahan. Key characteristics include depictions of court life, portraits of rulers, and illustrations of events from literature. Major artists included Mir Sayyid Ali, Abdus Samad, Basawan, and Mansur. The style reached its peak under Jahangir with an emphasis on realism and detailed renderings of nature, people, and buildings. Shah Jahan and Aurangzeb provided less support, but the tradition continued under royal patrons and independent artists. Mughal paintings blended elements of various styles into a distinct Indian school that has

    Copyright:

    © All Rights Reserved
    Download as PPTX, PDF, TXT or read online from Scribd
    Download as pptx, pdf, or txt
    323 views14 pages

    Mughal Art 06112013

    Uploaded by

    ChristySindhuja
    The Mughal school of painting originated from Persian art brought to India by Humayun and further developed during the reigns of Akbar, Jahangir, and Shah Jahan. Key characteristics include depictions of court life, portraits of rulers, and illustrations of events from literature. Major artists included Mir Sayyid Ali, Abdus Samad, Basawan, and Mansur. The style reached its peak under Jahangir with an emphasis on realism and detailed renderings of nature, people, and buildings. Shah Jahan and Aurangzeb provided less support, but the tradition continued under royal patrons and independent artists. Mughal paintings blended elements of various styles into a distinct Indian school that has

    Copyright:

    © All Rights Reserved
    Download as PPTX, PDF, TXT or read online from Scribd
    Download as pptx, pdf, or txt
    of 14

    Origin of Mughal School of Paintings

    The genesis, nature and progress of Mughal School of


    painting are an amalgamation of numerous components.
    Chinese art which had impact of Buddhist Indian art,
    Hellenic, Mongolian and Iranian art was brought to Iran in
    the 13th century and it kept on flourishing till 16th
    century in Iran. From Persia, Mughals carried this art to
    India. Later, Humayun's fascination with Persian Paintings
    in the court of Shah Tahmasp II in Tabriz was the
    foundation cause of existence of Mughal School of
    Paintings. He was so infatuated with the Persian art Form
    that two Persian Painters were with him when he came to
    India. The Indian version of their work is today known as
    the Mughal Paintings. The Tutinama (Tales of a Parrot) is
    the first example of Mughal School of Painting. It is now in
    the Cleveland Museum of Art.
    Themes of Mughal School of Painting
    Mughal Paintings gave blossoming shades of variety. The
    rich assortment included events, portraits and scenes
    from the court life, hunting scenes, wild life and
    illustrations of battle fronts. Some paintings also
    illustrated lovers in warm positions.
    Style of Mughal School of Paintings

    Mughal School of Painting during Babur


    Babur inherited an artistic taste. He was a great lover of art.
    Flowers, streams and springs fascinated him. Paintings in Alwar
    manuscript of Persian version of Baburs Memoirs may represent
    the type of work his court painters created.
    Mughal School of Painting during Humayun
    When Humayun returned to Kabul from Persia, he invited Mir
    Sayyad Ali and Abdus Samad and requested to illustrate Dastan-iAmir Hamzah. Because of his early demise, great painting works
    couldnt be completed.
    Mughal School of Painting during Akbar
    Painting reached great heights during Akbars reign. He created a
    painting department. He called painters from every part of India
    and abroad. It is believed that he had an album of portraits.
    Eminent painters during his reign included Mir Sayyad Ali, Abdus
    Samad, Daswant, Basawan, Tara Chand, Jagannath and Sanwal
    Das.
    Naldaman, Ramayana, Zafarnama, Razmanamah, Chingiznama and
    Kalyadaman were illustrated during his tenure.

    Mughal School of Painting during Jahangir


    He gave great impetus to painting. He was himself a prudent
    collector, an enthusiast and an art critic. It was during his time
    when the Miniature paintings reached the pinnacle of glory.
    Celebrated painters of his time included Mohammad Nadir,
    Manohar, Farrukh Beg, Keshav Brothers, Aqa Riza, Bishan Das,
    Ustad Mansur and Madhav.
    Flowers, birds, animals, natural objects and buildings were the most
    preferred subjects of paintings.
    Characteristics of paintings of this time included predominance of
    realism. In the then portrait studies, real human beings were
    illustrated rather than imaginary figures. Strict Purdah system of
    those times makes the existence of portrait of royal ladies doubtful.
    Paints and pigments used in paintings were carefully chosen and
    tastefully employed. Red, golden, green, silvery white and blue
    were most common hues of paintings. Paintings were also mounted
    and embellished with a creative foliated border.

    Mughal School of Painting during Shah Jahan


    Painting didnt receive much encouragement during his reign as he
    was more towards architecture. Anupa Chitra, Mir Hasan and
    Chintamani were among the few notable painters. At this time Dara
    Shikoh and Asaf Khan patronized painting.
    Mughal School of Painting during Aurangzeb
    Aurangzeb also didnt give momentum to painting. Under the
    patronage of nobles or on their own, painters continued the legacy
    of painting.
    Today Mughal School of Paintings has been appreciated all over the
    globe. They have made their own recognition and place in
    museums as far flung as the San Diego Museum of Art and Victoria
    and Albert Museum, London. Mughal School of paintings bended
    many elements. These paintings have given a new dimension to
    paintings.

    http://www.itasveer.com/artsmart/articles/various-schools-of-indianpainting/mughal-school-of-painting

    The Persian master artists Abdus Samad and Mir Sayid Ali,
    who had accompanied Humayun to India, were in charge of
    the imperial atelier during the early formative stages of
    Mughal painting, but large numbers of 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, Miskin, Kesu Das, and
    Daswanth.

    AKBAR HUNTING IN AN
    ENCLOSURE
    1586 1589
    ARTISTS: Miskina and Mansur
    This illustration from the
    Akbarnama is the left-hand
    side of a double page
    composition (the other half
    is IS.2:55-1896) depicting
    Akbar taking part in a
    qamargah. This is a
    spectacular hunt whereby
    the game is driven towards
    the centre of a ten mile
    circular area so that the
    emperor and his entourage
    could hunt and kill the
    animals. It is one of the
    finest hunting scenes in the
    V&A Akbarnama paintings
    and features the early work
    of the artist Mansur, who

    Jehangir Holding The Globe

    Painting of Inayat Khan dying, ca. 1618

    Red-Headed Vulture and Long-Billed


    Vulture: Leaf from the Shah Jahan
    Album,
    Mughal, period of Jahangir (160527), ca.
    161520
    By Mansur
    India
    A red-headed
    Ink, opaque
    watercolor,vulture,
    and gold on paper
    set in profile, is perched
    on a craggy
    outcropping. Beside it
    stands the long-billed
    vulture, seemingly
    floating against a wash
    of brown. Both loom
    large against a
    conventional
    background of rocks and
    sky. Bands of calligraphy
    set in cloud like
    cartouches span the top
    and bottom of the
    painting, which is set
    within a sumptuous

    Bust painting of Nurjahan


    1725

    Portraits Of Jahangir And Shah Jahan


    1628
    Ink, opaque watercolour, and gold on pape

    Portraits Of Jahangir And Shah Jahan


    Framed within elaborately painted and illuminated borders and mounted on an album
    page filled with vegetal design in gold, these portraits of two of the greatest Mughal
    emperors illustrate the contrast in the artistic conventions under each of their reigns. The
    painted bust of Jahangir (r. 1605-27 CE), the fourth ruler of the dynasty and the son of
    Akbar (r. 1556-1605 CE), represents the miniature portraits that became fashionable for
    important figures to wear during this emperors reign. The trend began after 1615 CE,
    when miniature portraits were introduced to India from England by Sir Thomas Roe (Welch
    and Welch 1982, p. 215; Canby 1998, p. 143). The artistic style under Jahangir is well
    represented by the artist Balchand, known for his ability to capture the more emotional
    and human qualities of subjects in his paintings (Welch and Welch 1982, p. 215).
    Balchand identifies himself through a Persian inscription on Jahangirs left shoulder:
    rasm-i [the drawing of] Balchand. The portrait of Shah Jahan (r. 1628-58 CE), Jahangirs
    son and successor, provides a stark contrast to the image of his father. While both sitters
    are shown in profile view and are illuminated by the golden halo around their heads, the
    standard convention for representing Mughal emperors, Shah Jahans larger, oval-shaped
    portrait commands a more public viewing audience. The illustration of the later emperors
    torso allows the artist to show Shah Jahan holding attributes that symbolize his power,
    such as his sword and the official seal in his hand. The seal inscription, deliberately made
    legible (in reverse mirror image) for the viewer, lists the emperors titles: Abul-Muzaffar
    Muhammad Shihab al-Din Shah Jahan Padshah-i Ghazi Sahib Qiran-i Thani 1. Sheila
    Canby has suggested that the last title, Sahib Qiran-i Thani (the Second Lord of the
    Astral conjunction), refers to Timur (r. 1370-1405 CE), the founder of the Timurid dynasty
    from which the Mughals were descended (Canby 1998, p. 143). This connection to the
    greatest Timurid ruler would have helped Shah Jahan legitimise his right to the throne
    following his fathers death. The iconic, idealized courtly style of Shah Jahans era is
    already apparent at the start of his reign; the painting is signed and dated in the first year
    of the emperors rule to the left of the portrait by Nadir al-Zaman, known as Abul-Hasan:
    It was painted at the beginning of the blessed ascension / Presented for the appraisal of
    the most pure / the work of the humblest of servants, Nadir al-Zaman. The emperor is
    shown in strict profile, staring blankly ahead while covered in precious, easily identified
    jewels. In contrast to the naturalistic rendering of his father, whose facial features are
    carefully modelled and suggest a three-dimensional appearance, Shah Jahans image has
    become iconic and creates a greater distance between the viewer and the sitter. These

    Portrait Of Bahadur shah


    1840

    A. R. CHUGHTAI (1897 1975)

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