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Daulat shows an "unusual self-consciousness" even in his early works. There are two identifiable self-portraits, both made at the emperor's request, as well as portraits of other artist colleagues, and some of his most significant miniatures contain tiny signatures hidden among the detail of the
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miniature probably dates to 1609–1610. Daulat does not seem to have contributed to the original miniatures, although some are now missing. The portrait of the calligrapher is probably posthumous, although Daulat would have known him when alive. This page followed some other Mughal manuscripts in
141:
miniature. One signature reads "Muhammad Daulat, son of L'al", and in another he describes himself as "the least of the houseborn", indicating his father worked in the court. There are other "formulaic expressions of humility" of the type expected in the Mughal court, though Daulat takes these
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Daulat's style has been described as "distinguished by clusters of narrow-shouldered, voluminous figures and a bright palette intensified by pronounced contour shading. His facial types are quite individualized, but share dark features, full cheeks and large, staring eyes, the latter frequently
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His father, L'al, served in the imperial court, very likely as one of the many artists in the imperial workshop. Daulat trained there and was active as a painter by the mid-1590s, remaining for the whole of his career. His brother Daud (Da'ud) was also an artist, who is usually referred to in
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188:, has wide gold borders which include seven portraits of court employees, five shown drawing, painting or reading. One is Daulat's self-portrait. Daulat's inscription records that this was also done at the emperor's specific request.
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further than most; his inscription on the
Gulshan Album page with his self-portrait ends "Written by the lowly, needy, insignificant, Daulat". Sometimes he puns on his name, which means "empire".
66:. He began his career painting large narrative scenes, then specialized in portraits, but later in his career seems to have specialized in highly ornate borders to miniatures.
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171:, drawing or painting, and in one case preparing a sheet of paper by polishing it (the usual Mughal practice for luxury manuscript pages).
162:, a signal honour. The text is dated AH 1004 (1595–1596 AD) and the main narrative miniatures come from the same period, while the added
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95:, the other main portrait specialist of the period, and ultimately a finer artist than Daulat, he was influenced by
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giving a pictorial colophon which showed a pair of men in the imperial book workshop working at their specialisms,
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473:"Between the Brush and Pen; on the Intertwined Histories of Mughal Painting and Calligraphy"
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by Daulat, showing him (left) painting the calligrapher of the manuscript, Abd al-Rahim.
54:, active on imperial commissions between about 1595 and 1635–1640, during the reigns of
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271:(album), c. 1615–1629. Border signed "the work of the slave of the threshold Daulat"
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1635 according to Rice, 149, 1640 per Grove; both agree on "c. 1595" as the start.
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Rice, 149. This is written on the paper Daulat's portrait figure writes on.
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Envisioning
Islamic Art and Architecture: Essays in Honor of Renata Holod
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in New Delhi (4 miniatures). In the next century, he contributed to the
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Important manuscript projects he contributed to in the 1590s include the
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Border by Daulat to a portrait by Nanha of
Maharaja Bhim Kanwar, son of
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was added to the book many years later, at the specific request of
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inscriptions and art history as "Daud, brother of Daulat". Like
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painting, for example on the girdle of a soldier in one
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200:A page inscribed "Daud, brother of Daulat", in the
335:Example in the Maharaja Sawai Man Singh II Museum
174:A page by Daulat in the Gulshan Album, a lavish
111:(MS Or. 12988, 3 miniatures), Akbar's dispersed
156:Khamsa of Nizami (British Library, Or. 12208)
84:Khamsa of Nizami (British Library, Or. 12208)
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487:The Emperor's Album: Images of Mughal India
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316:Grove; see below for how we know this.
202:Razmnamah (British Library, Or. 12076)
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489:, 1987, Metropolitan Museum of Art,
220:, from the Gulshan Album, c. 1610,
32:, from the Gulshan Album, c. 1610,
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534:17th-century Mughal Empire people
180:made for Jahangir and now in the
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514:Painters from the Mughal Empire
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479:, edited by David J. Roxburgh
427:Rice, 149, illustrated on 150
243:, c. 1610, from the same page
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519:17th-century Indian painters
154:His double portrait in the
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50:) was a leading artist in
151:directed at the viewer."
456:Encyclopaedia Britannica
447:Daulat (Mughal painter)
82:miniature added to the
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449:at Wikimedia Commons
529:16th-century births
524:17th-century deaths
125:Windsor Padshahnama
483:Welch, Stuart Cary
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445:Media related to
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222:Golestan Palace
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182:Golestan Palace
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129:Kevorkian Album
104:British Library
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70:Life and career
52:Mughal painting
44:Muhammad Daulat
34:Golestan Palace
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25:Self-portrait,
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78:Detail of the
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499:fully online
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263:, from the
218:Abu'l Hasan
169:calligraphy
30: 1610
508:Categories
495:0870994999
435:References
391:Welch, 136
346:Welch, 134
307:Welch, 136
117:, and the
64:Shah Jahan
461:"Grove":
241:Bishandas
224:Library,
204:, c. 1599
184:Library,
138:Baburnama
120:Baburnama
108:Akbarnama
93:Govardhan
36:Library,
337:, Jaipur
164:colophon
160:Jahangir
127:and the
114:Razmnama
80:colophon
60:Jahangir
269:muraqqa
177:muraqqa
97:Basawan
493:
452:"EB":
226:Tehran
186:Tehran
62:, and
48:Dawlat
38:Tehran
475:, in
400:Grove
373:Grove
355:Grove
277:Notes
261:Mewar
146:Style
56:Akbar
491:ISBN
267:, a
46:(or
259:of
510::
485:,
131:.
99:.
58:,
27:c.
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