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749:(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.
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498:. Knowledge was primarily transmitted through familial and apprenticeship relationships, and the system of joint manuscript production which brought multiple artists together for single works. In some cases, senior artists would draw the illustrations in outline, and more junior ones would usually apply the colours, especially for background areas. Where no artist names are inscribed, it is very difficult to trace Imperial Mughal paintings back to specific artists.
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483:. 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
657:, unusually large at 69 cm x 54 cm (approx. 27 x 20 inches) in size. This huge project "served as a means of moulding the disparate styles of his artists, from Iran and from different parts of India, into one unified style". By the end, the style reached maturity, and "the flat and decorative compositions of Persian painting have been transformed by creating a believable space in which characters painted in the round can perform".
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737:), 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. Mughal paintings made during Jahangir's reign continued the trend of Naturalism and were influenced by the resurgence of Persian styles and subjects over more traditional Hindu.
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305:. Akbar's manuscript had a remarkable total of some 1400 miniatures, one on every opening, with the relevant text written on the back of the page, presumably to be read to the emperor as he looked at each image. This colossal project took most of the 1560s, and probably beyond. These and a few other early works saw a fairly unified Mughal workshop style emerge by around 1580.
629:(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
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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
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711:; 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 1570–1585, Akbar hired over one hundred painters to practice Mughal style painting.
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which the
Mughals overthrew, and like the Mughals, and the very earliest of Central Asian invaders into the subcontinent, patronized foreign culture. These paintings were painted on loose-leaf paper, and were usually placed between decorated wooden covers. Although the first surviving manuscripts are
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argues that "Mughal naturalism has been greatly overstressed. Early animal imagery consists of variations on a theme, rather than new, innovative observations". He sees considerable borrowings from
Chinese animal paintings on paper, which seem not to have been highly valued by Chinese collectors, and
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The Mughal painting style later spread to other Indian courts, both Muslim and Hindu, and later Sikh, and was often used to depict Hindu subjects. This was mostly in northern India. It developed many regional styles in these courts, tending to become bolder but less refined. These are often described
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had an artistic inclination and during his reign Mughal painting developed further. Brushwork became finer and the colours 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
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illustrations to texts, but also mural paintings, and paintings in folk styles on cloth, in particular ones on scrolls made to be displayed by popular singers or reciters of the Hindu epics and other stories, performed by travelling specialists; very few early examples of these last survive. A vivid
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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 generally involved a group of artists, one (generally
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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
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Akbar's rule established a celebratory theme among the Mughal Empire. In this new period, Akbar persuaded artist to focus on showing off spectacles and including grand symbols like elephants in their work to create the sense of a prospering empire. Along with this new mindset, Akbar also encouraged
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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 (mostly trimmed in the images shown here) was
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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
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Mughal court painting, as opposed to looser variants of the Mughal style produced in regional courts and cities, drew little from indigenous non-Muslim traditions of painting. These were Hindu and Jain, and earlier
Buddhist, and almost entirely religious. They existed mainly in relatively small
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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 common among the
Mughals.
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Akbar had an album, now dispersed, consisting entirely of portraits of figures at his enormous court which had a practical purpose; according to chroniclers he used to consult it when discussing appointments and the like with his advisors, apparently to jog his memory of who the people being
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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.
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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. Even though this period was titled the most prosperous, artists during this time were expected to adhere to
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representing life in court as organized and unified. For this reason, most art created under his rule focused mainly on the emperor and aided in establishing his authority. The purpose of this art was to leave behind an image of what the Mughal's believed to be the ideal ruler and state.
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had unusually large pages, of densely woven cotton rather than the usual paper, and the images were very often crowded with figures. The work was "a continuous series of romantic interludes, threatening events, narrow escapes, and violent acts", supposedly telling the life of an uncle of
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discussed were. Many of them, like medieval
European images of saints, carried objects associated with them to help identification, but otherwise the figures stand on a plain background. There are a number of fine portraits of Akbar, but it was under his successors
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Mughal painting immediately took a much greater interest in realistic portraiture than was typical of
Persian miniatures. Animals and plants were the main subject of many miniatures for albums, and were more realistically depicted. Although many classic works of
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or earlier Indian painting. The pose, rarely varied in portraits, was to have the head in strict profile, but the rest of the body half turned towards the viewer. For a long time portraits were always of men, often accompanied by generalized female servants or
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896:. For manuscripts of Persian poetry there was a different way of working, with the best masters apparently expected to produce exquisitely finished miniatures all or largely their own work. An influence on the evolution of style during Akbar's reign was
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780:(1658–1707) was never an enthusiastic patron of painting, largely for religious reasons, and took a turn away from the pomp and ceremonial of the court around 1668, after which he probably commissioned no more paintings. After 1681 he moved to the
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80:) and developed in the court of the Mughal Empire of the 16th to 18th centuries. Battles, legendary stories, hunting scenes, wildlife, royal life, mythology, as well as other subjects have all been frequently depicted in paintings.
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usually had rather fewer miniatures, often around twenty, but often these were of the highest quality. Akbar also had the Hindu epic poems translated into Persian, and produced in illustrated versions. Four are known of the
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460:, especially in portraits of both people and animals, became a key aim, far more than in Persian painting, let alone the Indian traditions. There was already a Muslim tradition of miniature painting under the Turko-Afghan
221:, before being stopped as un-Islamic by Aurangzeb. In these scenes, the emperor is shown at top on a balcony or at a window, with a crowd of courtiers below, sometimes including many portraits. Like the increasingly large
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From fairly early the Mughal style made a strong feature of realistic portraiture, normally in profile, and influenced by Western prints, which were available at the Mughal court. This had never been a feature of either
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In the formative period of the style, under Akbar, the imperial workshop produced a number of heavily illustrated copies of established books in Persian. One of the first, probably from the 1550s and now mostly in the
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as "post-Mughal", "sub-Mughal" or "provincial Mughal". The mingling of foreign Persian and indigenous Indian elements was a continuation of the patronage of other aspects of foreign culture as initiated by the earlier
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Conveniently for modern scholars, Akbar liked to see the names of the artists written below each miniature. Analysis of manuscripts shows that individual miniatures were assigned to many painters. For example, the
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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
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type was less popular, but fully painted scenes of lovers in a palace setting became popular later. Drawings of genre scenes, especially showing holy men, whether Muslim or Hindu, were also popular.
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and Shah Jahan that the portrait of the ruler became firmly established as a leading subject in Indian miniature painting, which was to spread to both Muslim and Hindu princely courts across India.
1019:, 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
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The Mughal emperors were Muslims and they are credited with consolidating Islam in the subcontinent, and spreading Muslim (and particularly Persian) arts and culture as well as the faith.
1101:. 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.
800:(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
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his people to write down and find a way to record what they remembered from earlier times to ensure that others would be able to remember the greatness of the Mughal empire.
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182:; but there is scholarly debate about the representation of female court members in portraiture. Some scholars claim there are no known extant likenesses of figures like
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the most senior) to decide and outline the composition, the second to actually paint, and perhaps a third who specialized in portraiture, executing individual faces.
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includes a number of descriptions of such subjects, which were illustrated in the copies made for Akbar. These subjects also had specialist artists, including
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217:(literally "balcony view/worship"), or public display of the emperor to the court, or the public, which became a daily ceremonial under Akbar, Jahangir and
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From the 17th century equestrian portraits, mostly of rulers, became another popular borrowing from the West. Another new type of image showed the
95:, 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
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invasion, the tradition had abandoned the high viewpoint typical of the Persian style, and adopted a more realistic style for animals and plants.
2334:"Mughal Painting." Encyclopædia Britannica. Encyclopædia Britannica Academic Online Edition. Encyclopædia Britannica Inc., 2013.Web. 30 Sep 2013.
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had it added to make it a dynastic group including dead ancestors. When Humayun returned to India, he brought two accomplished Persian artists
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on earth, or even as having a quasi-divine status themselves. Other images show the enthroned emperor having meetings, receiving visitors, or
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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
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Seyller, John (1999). "Workshop and Patron in Mughal India: The Freer Rāmāyaṇa and Other Illustrated Manuscripts of 'Abd al-Raḥīm".
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Mughal-style miniature paintings are still being created today by a small number of artists in Lahore concentrated mainly in the
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This was especially the case with the large historical book projects that dominated production during Akbar's reign, the
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had maintained a workshop in Kabul, which Humayan perhaps took over into his own. Humayan's major known commission was a
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No miniatures survive from the reign of the founder of the dynasty, Babur, nor does he mention commissioning any in his
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in his golden throne. Though he did not encourage Mughal painting, some of the best work was done during his reign.
237:, or formal council. These and royal portraits incorporated in hunting scenes became highly popular types in later
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was Akbar's own commissioned biography or chronicle, produced in many versions, and the tradition continued with
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After a tentative start under Humayun, the great period of Mughal painting was during the next three reigns, of
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In contrast Mughal painting was "almost entirely secular", although religious figures were sometimes portrayed.
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Akbar riding the elephant Hawa'I pursuing another elephant across a collapsing bridge of boats (right), 1561
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an early example of an artist who seems never to have worked in the imperial atelier, but for other clients.
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Sarafan, Greg, "Artistic Stylistic Transmission in the Royal Mughal Atelier", Sensible Reason, LLC, 2007,
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Another popular subject area was realistic studies of animals and plants, mostly flowers; the text of the
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of Persia, he was exposed to Persian miniature painting, and commissioned at least one work there (or in
316:, its founder, had written classic memoirs, which his grandson Akbar had translated into Persian, as the
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IAS Mains Paper 1 Indian Heritage & Culture History & Geography of the world & Society 2020
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tradition of mural paintings flourished between the 9th and 17th centuries, as seen in the murals of
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1945:
Koch, Ebba. "Visual Strategies of Imperial Self-Representation: The Windsor Pādshāhnāma Revisited".
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The figural decoration of this example shows a strong relationship to paintings of the 17th century.
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with some 250 rather simple and rather small miniatures, most with only a few figures. In contrast,
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c. 1580–1585. Opaque watercolor and gold on paper, painted and mounted within borders, from a
322:(1589), and then produced in four lavishly illustrated copies, with up to 183 miniatures each. The
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Chitra, Die Tradition der Miniaturmalerei in Rajasthan by K.D. Christof & Renate Haass, 1999 (
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125:, and the introduction of it into the subcontinent by various central Asian dynasties such as the
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Eastman, Alvan C. "Mughal painting." College Art Association . 3.2 (1993): 36. Web. 30 Sep. 2013.
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contains 24 miniatures, with 21 different names, though this may be an especially large number.
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1713:"Romancing The Jharokha: From Being A Source Of Ventilation And Light To The Divine Conception"
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558:. The names of the main figures are noted on their clothes, and the artist shown at bottom.
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Ali, Azmat; Sahni, Janmejay; Sharma, Mohit; Sharma, Prajjwal; Goel, Dr Priya (2019-11-12).
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reflects the aspiration of the later Mughals to project an image as the representative of
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Others: Nanha, Daulat, Payag, Abd al-Rahim, Amal-e Hashim, Keshavdas, and Mah Muhammad.
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2286:, "Indian sub., §VI, 4(i): Mughal ptg styles, 16th–19th centuries", restricted access.
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Mughal India: Art, Culture and Empire Manuscripts and Paintings in the British Library
1450:, early 19th century, with miniature paintings – courtesy of the Wovensouls collection
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continued, as was a modified form of the Persian convention of an elevated viewpoint.
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Abid. Reign of Shah Jahan, portrait by Abid dated 1628; assembled late 17th century.
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and some influence of their art can be seen in various Mughal works, such as the
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mirror portrait, to these famous noblewomen. The single idealized figure of the
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Smart, Ellen (1999). "The Death of Ināyat Khān by the Mughal Artist Bālchand".
1974:"In a resplendent portrait of a Mughal emperor, subtle clues about a dark fall"
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Persian Miniature Painting, and its Influence on the Art of Turkey and India
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A noble lady, Mughal dynasty, India. 17th century. Color and gold on paper.
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255:(fl. 1590–1624), who specialized in birds and animal studies for albums
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2206:"Box with Scenes of an Emperor Receiving Gifts, early to mid-17th century"
2121:"The Submission of the rebel brothers Ali Quli and Bahadur Khan-Akbarnama"
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under Western influence. Late Mughal style often shows increased use of
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either as book illustrations or as single works to be kept in albums (
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The sub-imperial school of Mughal painting included artists such as
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South Asian painting in manuscript miniatures from the Mughal period
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Painting for the Mughal Emperor (The Art of the Book 1560-1660) by
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1858:. Sensible Reason. Archived from the original on February 2, 2014.
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102:
1718:. International Journal of Informative & Futuristic Research.
594:. Originally a group portrait with his sons, in the next century
4135:
2912:
2688:
2683:
1257:
The Submission of the rebel brothers Ali Quli and Bahadur Khan.
684:
3500:
2494:
2293:, 2nd edn. 1994, Yale University Press Pelican History of Art,
2490:
1287:
Pir Muhammad Drowns While Crossing the Narbada-Akbarnama, 1562
1030:
514:, c. 1550–1555, with additions in the next century under
2096:, by Ursula Sims-Williams, April 2016 - see table near bottom
1856:"Artistic Stylistic Transmission in the Royal Mughal Atelier"
362:, but though he had his aunt write a biography of his father
491:
culture, and expected to patronize literature and the arts.
393:. Akbar had at least one copy of the Persian version of the
308:
Other large projects included biographies or memoirs of the
2451:
Artistic Stylistic Transmission in the Royal Mughal Atelier
494:
The style of the Mughal school developed within the royal
980:(flourished 1590–1624) a specialist in animals and plants
510:
Princes of the House of Timur, attributed to the Persian
918:
Other important painters under Akbar and Jahangir were:
190:, and others attribute miniatures, for example from the
1588:"BBC - Religions - Islam: Mughal Empire (1500s, 1600s)"
2066:
The Grove Encyclopedia of Islamic Art and Architecture
2069:. Vol. 1. Oxford University Press. p. 380.
946:, a Hindu, d. 1584, who worked especially on Akbar's
633:, though it is not clear how far these studies went.
1391:
A Mughal prince and ladies in a garden, 18th century
1166:
on a terrace holding a pendant set with his portrait
4477:
4411:
4369:
4306:
4258:
4217:
4208:
4081:
4010:
3877:
3791:
3712:
3657:
3539:
3405:
3373:
3249:
3211:
3167:
3137:
3064:
3031:
3022:
2957:
2936:
2895:
2847:
2802:
2758:
2751:
2664:
2537:
2528:
2291:
The Art and Architecture of the Indian Subcontinent
1434:
Ascetic Seated on Leopard's Skin, late 18th century
225:these emperors were given in single portraits, the
533:, which covered just over a century between them.
443:: a number of Kashimiri painters were employed by
1626:. London: The British Library. pp. 132–133.
1670:Crill and Jariwala, 27–39, and catalogue entries
940:, returning north from around 1605 to his death.
823:Many museums have collections, with that of the
699:courts the texts illustrated included the Hindu
3432:Islamic world contributions to Medieval Europe
3512:
2506:
2341:, 1983, University of Texas Press, 0292764847
2063:Bloom, Jonathan M.; Blair, Sheila S. (2009).
2044:Losty, 31; Crill and Jariwala, 27; Britannica
681:Khamsa of Nizami (British Library, Or. 12208)
552:, 1610–1615, from Jahangir's own copy of the
8:
2436:. New York: The Metropolitan Museum of Art.
2413:. New York: The Metropolitan Museum of Art.
1691:The Peacock Throne: The Drama of Mogul India
2409:The Emperors' album: images of Mughal India
1065:. Unsourced material may be challenged and
796:'Rangeela' (1719–1748), but by the time of
586:), an unusually large painting on cloth of
4214:
3874:
3709:
3519:
3505:
3497:
3416:Islamic Art: Mirror of the Invisible World
3028:
2755:
2534:
2513:
2499:
2491:
1419:, 18th century. Colour and gold on paper.
1223:, reading and writing a commentary on the
108:The Emperor Shah Jahan standing on a globe
2472:National Museum, Delhi – Mughal paintings
2306:Indian court painting, 16th-19th century.
1648:Mirror Case With Portrait of Mumtaz Mahal
1085:Learn how and when to remove this message
64:), originating from the territory of the
3469:Oriental carpets in Renaissance painting
2465:Indian Court Painting, 16th–19th Century
2405:Welch, Stuart Cary; et al. (1987).
820:and recession under Western influence.
788:, never returning to live in the north.
91:continued to be illustrated, as well as
29:
3389:Heaven on Earth: Art from Islamic Lands
2107:"Mughal Painting Under Akbar the Great"
1530:
1219:'s depiction of a young scholar in the
1112:
964:a Hindu active c. 1580–1600, whose son
695:. As Mughal-derived painting spread to
56:style of painting on paper confined to
2261:Crill, Rosemary, and Jariwala, Kapil.
1861:
1566:. Arihant Publications India limited.
546:Emperor Jahangir weighs Prince Khurram
366:, no illustrated manuscript survives.
358:, a biography of his distant ancestor
2321:Mughal India: Art, Culture and Empire
1967:
1965:
1895:
1893:
1891:
1881:
1879:
1778:
1776:
1774:
1772:
1762:
1760:
1753:. Abhinav Publications. pp. 6–7.
769:scene with the newly crowned Emperor
7:
2486:University of Michigan Museum of Art
2482:Collection: Art of the Mughal Empire
2373:Fiction in Mughal Miniature Painting
2090:"Razmnamah: the Persian Mahabharata"
1540:Visite de Jahangir à l'ascète Jadrup
1063:adding citations to reliable sources
3396:Hajj: Journey to the Heart of Islam
2468:from the Metropolitan Museum of Art
2375:by Prof. P. C. Jain and Dr. Daljeet
2139:"Alexander is Lowered into the Sea"
784:to pursue his slow conquest of the
2378:Painting the Mughal Experience by
2239:, Harvard University Press, 1987,
2119:Basawan & Chitra (1590–1595).
1204:on the river Gomti-Akbarnama, 1561
642:("Tales of a Parrot"), now in the
625:During the reign of Humayun's son
386:in Persian, from between 1585 and
25:
3297:Museum for Islamic Art, Jerusalem
2432:India: art and culture, 1300-1900
2267:National Portrait Gallery, London
1854:Sarafan, Greg (6 November 2011).
1620:Losty, J.P.; Roy, Malini (2012).
1344:c. 1597–98, attributed to Mukanda
1338:Alexander is Lowered into the Sea
997:, a Hindu specialist in portraits
844:manuscript in the British Library
537:Humayun (1530–1540 and 1555–1556)
342:) and a celebratory biography of
110:, with a halo and European-style
3527:
2742:
2319:Losty, J. P. Roy, Malini (eds),
1711:Kaur, Manpreet (February 2015).
1693:, 102, 1986, Motilal Banarsidass
1650:. Freer Gallery of Art. F2005.4
1455:
1439:
1427:
1408:
1396:
1384:
1372:
1349:
1330:
1314:
1292:
1280:
1268:
1250:
1232:
1209:
1193:
1171:
1156:
1142:
1127:
1115:
1035:
566:When the second Mughal emperor,
487:and were fully assimilated into
4571:Islamic illuminated manuscripts
3824:Suppression of Tilpat rebellion
1379:Mughal Prince visits a Holy Man
808:and in the cities ruled by the
606:with him. His usurping brother
4361:List of tombs of Mughal Empire
3819:Mughal–Safavid war (1649–1653)
3814:Mughal–Safavid war (1622–1623)
2263:The Indian Portrait, 1560–1860
2094:Asian and African studies blog
1972:Singh, Kavita (13 June 2021).
1421:Freer Gallery of Art F1907.195
1136:Freer Gallery of Art F1907.219
241:and other post-Mughal styles.
1:
1340:, from a Khamsa (Quintet) of
926:
588:Princes of the House of Timur
387:
159:
42:
41:visiting the ascetic Jadrup,
3454:Mathematics and architecture
2309:Metropolitan Museum of Art.
1750:A History of Indian Painting
1299:Akbar receiving his sons at
839:The scribe and painter of a
827:in London especially large.
3869:Mughal–Portuguese conflicts
2453:by Greg Sarafan, Esq., 2007
2428:Welch, Stuart Cary (1985).
2164:Artibus Asiae. Supplementum
1785:Artibus Asiae. Supplementum
1747:Chaitanya, Krishna (1976).
850:The Persian master artists
653:consisting of 1,400 cotton
422:. Still using the style of
369:Volumes of the classics of
76:painting (itself partly of
4607:
4561:Schools of Indian painting
4268:Alamgir Mosque, Aurangabad
2109:Metropolitan Museum of Art
2026:Victoria and Albert Museum
825:Victoria and Albert Museum
810:British East India Company
683:followed in the 1590s and
636:Between 1560 and 1566 the
4288:Shah Jahan Mosque, Thatta
3437:Influences on Western art
2740:
2323:, 2013, British Library,
1868:: CS1 maint: unfit URL (
1610:Crill and Jariwala, 23-30
412:Babur Receives a Courtier
116:, c. 1618–19 to 1629
4586:Islamic arts of the book
3859:Indian Rebellion of 1857
3804:Mughal conquest of Malwa
2303:Kossak, Steven. (1997).
1415:Female performer with a
1099:National College of Arts
3834:Tibet–Ladakh–Mughal war
2477:San Diego Museum of Art
1728:Beach, 32–37, 37 quoted
968:was active c. 1582–1624
644:Cleveland Museum of Art
285:Cleveland Museum of Art
3427:Indo-Saracenic Revival
1885:Crill and Jariwala, 50
1679:Crill and Jariwala, 68
1661:Crill and Jariwala, 66
1239:Battle scene from the
858:, who had accompanied
847:
846:, made for Akbar, 1610
774:
741:Shah Jahan (1628–1659)
563:
518:
427:
256:
169:
117:
46:
4346:Tomb of Salim Chishti
3829:Ahom–Mughal conflicts
3579:Aurangzeb (Alamgir I)
3382:Empire of the Sultans
2237:Early Mughal painting
2233:Beach, Milo Cleveland
1361:The Dying Inayat Khan
1321:Europeans embracing,
838:
764:
544:
509:
410:
247:
146:Abu'l Hasan, Emperor
145:
106:
33:
4308:Tombs and mausoleums
3345:Arab World Institute
3155:Ottoman illumination
2022:"V&A · About us"
1342:Amir Khusrau Dihlavi
1059:improve this section
792:during the reign of
745:During the reign of
719:Jahangir (1605–1625)
621:Akbar (r. 1556–1605)
196:Freer Gallery of Art
4273:Jama Masjid (Delhi)
3839:Mughal–Maratha wars
663:'s masterpiece The
70:Indian subcontinent
4576:Pakistani painting
4525:Nizam of Hyderabad
3799:Mughal-Rajput wars
3619:Ahmad Shah Bahadur
3584:Muhammad Azam Shah
3422:Aniconism in Islam
3360:Toronto (Aga Khan)
3317:Khalili Collection
3182:Geometric patterns
2590:Bahmani and Deccan
2346:SensibleReason.com
2337:Titley, Norah M.,
2105:Diamind, Maurice.
2092:, British Library
1688:Hansen, Waldemar,
1484:Madhubani painting
1242:Hamzanama of Akbar
1027:Mughal style today
848:
775:
564:
519:
462:Sultanate of Delhi
428:
274:so reached India.
257:
170:
118:
89:Persian literature
72:. It emerged from
47:
4591:Indian inventions
4548:
4547:
4535:Kingdom of Mysore
4469:Foreign relations
4407:
4406:
4356:Tomb of Nur Jahan
4351:Tomb of Aurangzeb
4298:Wazir Khan Mosque
4218:Forts and palaces
4204:
4203:
4176:Guru Gobind Singh
4104:Bayazid of Sylhet
3787:
3786:
3687:Foreign relations
3494:
3493:
3163:
3162:
3018:
3017:
2990:Hardstone carving
2887:Chinese influence
2738:
2737:
2724:Stucco decoration
2399:978-3-89754-231-0
2380:Som Prakash Verma
2284:Oxford Art Online
2253:978-0-674-22185-7
2210:www.metmuseum.org
2143:www.metmuseum.org
2076:978-0-19-530991-1
2010:Stuart Cary Welch
1700:978-81-208-0225-4
1573:978-93-241-9210-3
1514:Islamic miniature
1509:Persian miniature
1489:Ottoman miniature
1179:Daud Khan Karrani
1122:Portrait of Akbar
1095:
1094:
1087:
786:Deccan Sultanates
679:around 1585; the
424:Persian miniature
332:'s autobiography
278:Illustrated books
175:Persian miniature
93:Indian literature
74:Persian miniature
16:(Redirected from
4598:
4515:Nawabs of Bengal
4478:Successor states
4382:Shalimar Gardens
4326:Gardens of Babur
4215:
4161:Lachit Borphukan
3875:
3864:Mughal–Sikh wars
3809:Gujarat conquest
3710:
3702:Mughal artillery
3531:
3521:
3514:
3507:
3498:
3333:Majorelle Garden
3029:
2862:Hispano-Moresque
2756:
2746:
2555:Anatolian Seljuk
2535:
2515:
2508:
2501:
2492:
2447:
2424:
2220:
2219:
2217:
2216:
2202:
2196:
2195:
2170:(3/4): 273–279.
2159:
2153:
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2150:
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2135:
2129:
2128:
2116:
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2018:
2012:
2003:
1997:
1994:
1988:
1987:
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1984:
1969:
1960:
1957:
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1950:
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1936:
1933:
1927:
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1601:
1599:
1598:
1584:
1578:
1577:
1557:
1551:
1550:
1549:
1548:
1535:
1504:Western painting
1499:Tanjore painting
1474:Arabic miniature
1459:
1443:
1431:
1412:
1400:
1388:
1376:
1365:Bodleian Library
1353:
1334:
1318:
1296:
1284:
1272:
1254:
1236:
1213:
1197:
1175:
1160:
1146:
1131:
1119:
1090:
1083:
1079:
1076:
1070:
1039:
1031:
986:(1589 – c. 1630)
935:
931:
928:
842:Khamsa of Nizami
730:Tuzk-e-Jahangiri
669:was produced at
613:Khamsa of Nizami
570:was in exile in
555:Tuzk-e-Jahangiri
392:
389:
335:Tuzk-e-Jahangiri
215:Jharokha Darshan
164:
161:
44:
21:
4606:
4605:
4601:
4600:
4599:
4597:
4596:
4595:
4566:Indian painting
4551:
4550:
4549:
4544:
4520:Nawabs of Awadh
4473:
4454:Persian Mughals
4403:
4387:Achabal Gardens
4365:
4336:Jahangir's Tomb
4321:Bibi Ka Maqbara
4302:
4283:Badshahi Mosque
4254:
4200:
4166:Khushal Khattak
4141:Maharana Pratap
4077:
4006:
3987:Thanesar (1710)
3982:Thanesar (1567)
3873:
3783:
3708:
3653:
3649:Bahadur Shah II
3604:Rafi ud-Darajat
3535:
3525:
3495:
3490:
3459:Moorish Revival
3407:
3401:
3369:
3286:Calligraphy Art
3252:
3245:
3207:
3159:
3133:
3060:
3024:
3014:
2980:Enamelled glass
2953:
2932:
2891:
2843:
2798:
2759:Regional styles
2747:
2734:
2660:
2631:Sudano-Sahelian
2538:Regional styles
2524:
2519:
2460:
2444:
2427:
2421:
2404:
2354:
2352:Further reading
2331:, 9780712358705
2229:
2224:
2223:
2214:
2212:
2204:
2203:
2199:
2176:10.2307/3250020
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2020:
2019:
2015:
2004:
2000:
1996:Losty, 147, 149
1995:
1991:
1982:
1980:
1971:
1970:
1963:
1958:
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1944:
1943:
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1934:
1930:
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1860:
1853:
1852:
1848:
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1839:
1834:
1830:
1825:
1821:
1817:Titley, 161–166
1816:
1812:
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1781:
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1765:
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1581:
1574:
1559:
1558:
1554:
1546:
1544:
1537:
1536:
1532:
1527:
1494:Rajput painting
1479:Indian painting
1470:
1463:
1460:
1451:
1446:Mughal Ganjifa
1444:
1435:
1432:
1423:
1413:
1404:
1401:
1392:
1389:
1380:
1377:
1368:
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1138:
1132:
1123:
1120:
1111:
1091:
1080:
1074:
1071:
1056:
1040:
1029:
933:
929:
913:British Library
833:
806:Rajput painting
759:
757:Later paintings
743:
721:
691:around 1595 in
623:
539:
504:
437:Alchi Monastery
420:Rawżat aṣ-ṣafāʾ
405:
390:
280:
239:Rajput painting
167:Aga Khan Museum
162:
140:
135:
123:Delhi Sultanate
50:Mughal painting
28:
23:
22:
15:
12:
11:
5:
4604:
4602:
4594:
4593:
4588:
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4507:
4502:
4497:
4495:Maratha Empire
4492:
4481:
4479:
4475:
4474:
4472:
4471:
4466:
4461:
4456:
4451:
4446:
4441:
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4415:
4413:
4409:
4408:
4405:
4404:
4402:
4401:
4394:
4389:
4384:
4379:
4377:Fatehpur Sikri
4373:
4371:
4367:
4366:
4364:
4363:
4358:
4353:
4348:
4343:
4338:
4333:
4331:Humayun's Tomb
4328:
4323:
4318:
4312:
4310:
4304:
4303:
4301:
4300:
4295:
4293:Sunehri Masjid
4290:
4285:
4280:
4275:
4270:
4264:
4262:
4256:
4255:
4253:
4252:
4247:
4245:Jahangir Mahal
4242:
4237:
4232:
4227:
4221:
4219:
4212:
4206:
4205:
4202:
4201:
4199:
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4138:
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4131:Sher Shah Suri
4128:
4123:
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4116:
4111:
4106:
4101:
4096:
4085:
4083:
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4008:
4007:
4005:
4004:
3999:
3994:
3989:
3984:
3979:
3974:
3969:
3964:
3959:
3957:Panipat (1761)
3954:
3952:Panipat (1556)
3949:
3947:Panipat (1526)
3944:
3939:
3934:
3929:
3924:
3919:
3914:
3909:
3904:
3899:
3894:
3892:Badli-ki-Serai
3889:
3883:
3881:
3872:
3871:
3866:
3861:
3856:
3851:
3846:
3841:
3836:
3831:
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3811:
3806:
3801:
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3718:
3707:
3706:
3705:
3704:
3694:
3689:
3684:
3679:
3674:
3673:
3672:
3661:
3659:
3658:Administration
3655:
3654:
3652:
3651:
3646:
3641:
3636:
3631:
3629:Shah Jahan III
3626:
3621:
3616:
3611:
3606:
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2458:External links
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310:Mughal dynasty
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63:
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4448:
4396:
4392:Shahi Bridge
4316:Akbar's Tomb
4278:Chawk Mosque
4250:Sheesh Mahal
4235:Lalbagh Fort
4210:Architecture
4196:Hector Munro
4171:Josiah Child
4121:Ibrahim Lodi
4114:Pratapaditya
4099:Khwaja Usman
3897:Bhuchar Mori
3713:
3634:Shah Alam II
3599:Farrukhsiyar
3478:
3474:Pseudo-Kufic
3414:
3394:
3387:
3380:
3303:Kuala Lumpur
3201:
3045:
2728:
2580:Indo-Islamic
2570:Great Seljuk
2530:Architecture
2464:
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2410:
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2379:
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2257:google books
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1946:
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1539:
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1258:
1240:
1103:
1096:
1081:
1072:
1057:Please help
1045:
1014:
1011:
984:Abu al-Hasan
978:Ustad Mansur
953:
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902:
891:
885:
879:
873:
867:
865:
852:Abd al-Samad
849:
841:
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798:Shah Alam II
790:
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734:
728:
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713:
688:
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664:
659:
648:
637:
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631:Abd as-Samad
624:
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608:Kamran Mirza
600:Abd al-Samad
587:
565:
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545:
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512:Abd as-Samad
493:
478:
472:
455:
448:
429:
411:
394:
381:
375:
368:
353:
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340:Jahangirnama
339:
333:
323:
317:
307:
296:
288:
281:
267:Ustad Mansur
260:
258:
253:Ustad Mansur
212:
204:
188:Mumtaz Mahal
171:
119:
111:
107:
85:
82:
49:
48:
4510:Sikh Empire
4489:interrupted
4230:Lahore Fort
4181:Henry Every
4146:Malik Ambar
4089:Baro-Bhuyan
4082:Adversaries
4068:Ranthambore
4023:Chittorgarh
3844:Child's war
3670:family tree
3406:Principles,
3374:Exhibitions
3327:Marrakech (
3323:Los Angeles
3291:Jerusalem (
3253:collections
3204:Calligraphy
3084:Indo-Muslim
3066:Calligraphy
3000:Mosque lamp
2958:Other media
2877:Mina'i ware
2766:Bangladeshi
2522:Islamic art
1844:Titley, 187
1826:Titley, 161
1363:, c. 1618,
1200:Victory of
1181:receives a
966:Manohar Das
955:Mahabharata
934: 1615
930: 1545
923:Farrukh Beg
906:incomplete
818:perspective
709:Mahabharata
673:in 1582, a
550:Manohar Das
502:Development
416:Farrukh Beg
391: 1617
383:Mahabharata
349:Padshahnama
227:iconography
200:Riza Abbasi
192:Dara Shikoh
163: 1620
97:Padshahnama
54:South Asian
4581:Mughal art
4555:Categories
4540:Rohilkhand
4485:Sur Empire
4191:Nader Shah
4126:Rana Sanga
4038:Daulatabad
3922:Haldighati
3854:Bengal war
3692:Government
3624:Alamgir II
3574:Shah Jahan
3480:Stilfragen
3408:influences
3280:Istanbul (
3213:The garden
3169:Decoration
3138:Other arts
3033:Miniatures
2918:Embroidery
2872:Lustreware
2731:Decoration
2694:Mashrabiya
2602:Indonesian
2329:0712358706
2315:0870997831
2299:0300062176
2227:References
2215:2018-12-17
2148:2018-12-14
2031:2022-02-17
2006:Commentary
1983:2021-06-13
1959:Britannica
1766:Harle, 372
1597:2019-01-01
1547:2024-06-22
1187:Munim Khan
1164:Shah Jahan
958:in Persian
932: – c.
747:Shah Jahan
689:Baharistan
676:Darab Nama
531:Shah Jahan
489:Persianate
344:Shah Jahan
219:Shah Jahan
180:concubines
127:Ghaznavids
58:miniatures
37:, Emperor
18:Mughal art
4341:Taj Mahal
4225:Agra Fort
4186:Bajirao I
4109:Musa Khan
4063:Purandhar
3967:Raj Mahal
3942:Najafgarh
3792:Conflicts
3759:Hyderabad
3715:Provinces
3442:Grotesque
3355:Singapore
3339:Melbourne
3177:Arabesque
2606:Malaysian
2484:from the
2282:"Grove",
2184:1423-0526
2125:Akbarnama
2053:Losty, 31
1978:Scroll.in
1926:Losty, 15
1917:Beach, 49
1908:Beach, 58
1835:Losty, 12
1797:1423-0526
1791:: 3–344.
1737:Beach, 61
1325:, c. 1590
1306:Akbarnama
1263:, 1590–95
1260:Akbarnama
1150:Nur Jahan
1046:does not
995:Bishandas
972:Govardhan
893:Akbarnama
881:Hamzanama
875:Baburnama
802:Rajputana
778:Aurangzeb
771:Aurangzeb
650:Hamzanama
578:court of
480:Baburnama
450:Hamzanama
441:Tsaparang
355:Zafarnama
325:Akbarnama
319:Baburnama
297:Hamzanama
262:Baburnama
235:in durbar
156:Agra Fort
138:Portraits
45:1616–1620
35:Govardhan
4530:Carnatic
4449:Painting
4444:Language
4412:See also
4240:Red Fort
4094:Isa Khan
4058:Kandahar
4043:Golconda
3972:Samugarh
3907:Chanderi
3697:Military
3644:Akbar II
3569:Shahryar
3564:Jahangir
3541:Emperors
3447:Moresque
3307:London (
3251:Museums,
3236:Paradise
3221:Charbagh
3202:See also
3104:Nastaliq
3094:Muhaqqaq
3025:the book
2937:Woodwork
2896:Textiles
2857:Fritware
2729:See also
2714:Muqarnas
2709:Mocárabe
2666:Elements
2382:, 2005 (
2269:, 2010,
1864:cite web
1468:See also
1367:, Oxford
1357:Balchand
1021:Dalchand
949:Razmnama
944:Daswanth
908:Razmnama
898:Kesu Das
887:Razmnama
869:Tutinama
724:Jahangir
707:and the
705:Ramayana
666:Gulistan
639:Tutinama
596:Jahangir
527:Jahangir
516:Jahangir
433:Kashmiri
396:Ramayana
377:Razmnama
330:Jahangir
303:Muhammad
295:Akbar's
290:Tutinama
287:, was a
208:Jahangir
148:Jahangir
133:Subjects
39:Jahangir
4464:Weapons
4439:Gardens
4434:Fashion
4429:Culture
4424:Cuisine
4260:Mosques
4156:Shivaji
4073:Sambhal
4048:Hooghly
4018:Bijapur
3992:Tukaroi
3977:Sirhind
3962:Plassey
3879:Battles
3749:Gujarat
3677:Economy
3665:Dynasty
3554:Humayun
3464:Mudéjar
3365:Tripoli
3343:Paris (
3313:V&A
3241:Persian
3231:Ottoman
3145:Muraqqa
3124:Thuluth
3109:Persian
3056:Persian
3051:Ottoman
3023:Arts of
3008:Shabaka
2882:Persian
2849:Pottery
2834:Turkish
2829:Persian
2804:Carpets
2793:Ottoman
2789:Turkish
2783:Safavid
2771:Persian
2704:Minaret
2679:Banna'i
2651:Umayyad
2646:Timurid
2636:Swahili
2626:Ottoman
2621:Moorish
2611:Iranian
2585:Bengali
2565:Fatimid
2560:Chinese
2550:Ayyubid
2545:Abbasid
2192:3250020
1935:Eastman
1805:1522711
1417:tanpura
1227:, 1559.
1109:Gallery
1067:removed
1052:sources
1017:Mushfiq
1001:Mushfiq
990:Bichitr
962:Basawan
938:Bijapur
911:in the
860:Humayun
831:Artists
576:Safavid
574:in the
568:Humayun
496:atelier
475:memoirs
458:Realism
403:Origins
364:Humayun
154:of the
150:at the
68:in the
62:muraqqa
4370:Others
4151:Gokula
4011:Sieges
4002:Bhulua
3937:Khanwa
3932:Khajwa
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3774:Multan
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3739:Bengal
3349:Louvre
3329:Museum
3276:Ghazni
3261:Berlin
3226:Mughal
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3129:Tughra
3079:Diwani
3074:Arabic
3046:Mughal
3041:Arabic
2949:Minbar
2944:Khatam
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2923:Soumak
2908:Damask
2839:Prayer
2822:Motifs
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2699:Mihrab
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2595:Mughal
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767:durbar
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655:folios
572:Tabriz
477:, the
249:Nilgai
4459:Tribe
4053:Jinji
4033:Daman
4028:Delhi
3997:Bakla
3902:Buxar
3769:Malwa
3754:Delhi
3744:Berar
3734:Awadh
3729:Ajmer
3559:Akbar
3549:Babur
3266:Cairo
3191:tiles
3187:Girih
3150:Hilya
3119:Taliq
3099:Naskh
3089:Kufic
2985:Glass
2970:Brass
2965:Music
2903:Batik
2867:Iznik
2817:Kilim
2779:Qajar
2775:Early
2674:Ablaq
2641:Tatar
2575:Hausa
2188:JSTOR
1899:Grove
1801:JSTOR
1716:(PDF)
1525:Notes
1225:Quran
701:epics
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661:Sa'di
627:Akbar
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467:Mandu
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