Ch-3; Mughal School

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Class 12th, Ch-3, Mughal School, Painting

Last updated 6:55 PM on 9/17/26
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Mughal School of Painting: Origin and Development

• The Mughal School of Miniature Painting is known for its refined aesthetics.
• It developed as a mixture of Rajasthani art and Persian art. It was not an entirely new style; rather, the Rajasthani school was refined and polished under Persian influence.
• Mughal art included calligraphy, bookmaking, book illustration and miniature painting.
• Paintings became an important medium for narrating the tall tales and achievements of Mughal emperors.
• Mughal miniatures were very small, often only a few square inches, and brightly coloured. Despite their small size, they were incredibly accurate, with some lines painted using a brush made of a single hair.
• The Mughal rulers of the Timurid dynasty encouraged Mughal art, which reached its peak during the 15th century.
• Behzad was the most famous Persian miniature painter of the period. He was regarded as the Raphael of the East and served as the chief artist.

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Babur Period (1526–1530)
• <b>Babur</b> was the first Mughal emperor and belonged to the <b>Timur family</b>.<br>• He was a man of <b>aesthetic sensibilities</b> and had a keen interest and great liking for <b>poetry, music and art</b>.<br>• He spent most of his time on the <b>battlefield</b> and died in <b>1530</b>.
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Humayun Period (1530–1556)
• The <b>Mughal period of painting</b> was started by the second Mughal emperor, <b>Humayun</b>.<br>• During his exile, Humayun came into contact with <b>two Persian artists</b> and brought them to India when he returned.<br>• These artists trained painters in the <b>early Mughal style of painting</b> and also taught <b>Humayun and his son Akbar</b> drawing lessons.<br>• They illustrated a copy of <b>Dastan-e Amir Hamza</b> with the assistance of Indian artists.<br>• Humayun laid the <b>foundation of Mughal painting</b>.
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Akbar Period (1556–1605)
• After the death of <b>Humayun</b>, the Mughal Empire reached its peak under Humayun's son, known as <b>Akbar the Great</b>, who ruled from <b>1556 to 1605</b>.<br>• Akbar is often remembered as one of the greatest Mughal emperors and devoted <b>extraordinary time to art</b>.<br>• He had a keen interest in <b>art</b> and filled his court with <b>poets and painters</b>.<br>• The first major works of <b>Mughal miniature painting</b> probably began under Akbar.<br>• During his period, miniature paintings were <b>lively and realistic</b>.<br>• When Akbar died in <b>1605</b>, his library of <b>poetry, philosophy and painting</b> was valued at over three times the amount he spent building the city of <b>Fatehpur Sikri</b>.
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Jahangir Period (1605–1627)

• Jahangir's period is also known as the Golden Period of Mughal Painting.

• Mughal painting continued to grow during the reign of Jahangir.
• During his reign, Mughal painting flourished in both human and nature studies and reached its zenith.
• Since Jahangir was largely influenced by European painting, this gave a new perspective to Mughal painting.
• Jahangir also used European paintings that depicted images of kings and queens.
• He encouraged his painters. Daulat was one of the famous painters of Jahangir's time.
• Jahangir had a trained eye for pictures and a highly refined aesthetic sensibility.
• Ornamentation and border decoration were also characteristic features of the time, reflecting the Persian style.
• After the death of Jahangir, Shah Jahan became the emperor of the Mughal Empire in 1628.

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Shah Jahan Period (1628–1658 AD)
• <b>Shah Jahan</b> was known for his immense love for <b>architecture</b>.<br>• His reign from <b>1628 to 1658 AD</b> was a golden period for <b>Mughal architecture</b>, and he was called the <b>Architecture King</b>.<br>• He did not patronise painting like his father, <b>Jahangir</b>.<br>• He built many <b>fortresses, palaces and mosques</b>, such as the <b>Taj Mahal</b> and the <b>Red Fort of Agra</b>.<br>• Even during Shah Jahan's time, the art of painting continued in the <b>Jahangir style</b>, but its standard was not as high as it had been during Jahangir's reign.<br>• The art of painting during his rule saw a <b>decline</b> due to a traditional and hackneyed style.<br>• The <b>quantity</b> of paintings was maintained, but their <b>quality was reduced</b>, and nothing extraordinary was painted.<br>• Shah Jahan's eldest son, <b>Prince Dara Shikoh</b>, was a great art lover and generous patron. His premature death gave a <b>setback to the art of miniature painting</b>.<br>• <b>Portraiture</b> is considered a special feature of Shah Jahan's time.<br>• A variety of brushes for works of art were manufactured using <b>squirrel or kitten hair</b>.
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Aurangzeb Period (1658–1707 AD)
• <b>Aurangzeb</b> was a conservative, powerful and wealthy ruler of his time.<br>• He did not encourage <b>art</b> and thus the quality of Mughal painting declined further.<br>• Aurangzeb ruled as emperor of India from <b>1658 to 1707</b> and was the <b>last of the great Mughal emperors</b>.<br>• Later, <b>Bahadur Shah</b> tried to revive art, but after that the Mughal school became lifeless under the later Mughals.<br>• Finally, the glorious period of <b>Mughal miniature art</b> came to an end in the <b>early 18th century</b>.<br>• Therefore, Mughal art <b>originated with the Mughals and ended with Mughal rule</b>.
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Main Features / Characteristics of Mughal School of Miniature Painting

The main features of the Mughal School of Miniature Painting are:
1. Historical Scenes: During Akbar's reign, many historical scenes were painted. Akbar gave great importance to manuscripts.
2. Linear Beauty: Mughal paintings show beautiful, thin, thick and fine lines. These lines are so delicate that even the minutest details are clearly visible.
3. Use of Brushes: A variety of brushes were manufactured using squirrel or kitten hair.
4. Border Decoration: Paintings are decorated with highly ornamented borders. In some paintings, the borders dominate the main painting.
5. Profile Faces: Profile faces are a main characteristic of the Mughal School. Almost all portraits are ek-chashm; even when figures are shown in frontal or side poses, their faces are generally depicted in profile.
6. Garments: Female figures wear transparent chunni, while male figures wear pyjamas and decorative turbans. Most garments represent the summer season.
7. Themes: Mughal paintings revolve around themes such as battles, mythological stories, hunting scenes, wildlife, royal life and mythology.
8. Depiction of Nature: Nature is beautifully depicted. Each leaf is painted differently, and trees, plants and leaves are shown gracefully.
9. Colour Scheme: Natural colours are used beautifully. The early paintings used flat colours, while later paintings showed depth through shading.
10. Gold and Silver Colours: Gold and silver powder were used to enhance the royal effect of the paintings.
11. Use of Calligraphy: Most paintings contain calligraphy in black, sometimes along with the name of the artist.
12. Depiction of Animals and Birds: Animals and birds were beautifully depicted. Scenes of camel fights and elephant fights, along with animals such as goats, horses, tigers and lions, are commonly found.
13. Crowded Scenes: The Mughal School is famous for depicting crowded scenes involving a large number of figures and forms.

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About
About
Name: <b>Krishna Lifting Mount Govardhan</b><br>Artist: <b>Miskin</b><br>School: <b>Akbar School</b><br>Period: <b>1585–1590 AD</b><br>Medium: <b>Watercolour</b><br>Technique: <b>Tempera on paper</b><br>Courtesy: <b>National Museum, New Delhi</b>
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Subject Matter
Subject Matter
This painting is based on the story of <b>Lord Krishna</b> from the <b>Bhagavata Purana</b>. Krishna, the saviour, protects the people of <b>Brij</b> from the wrath of <b>Indra</b> by lifting Mount Govardhan.
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Human Life Values
Human Life Values
Social messaging: It is the responsibility of a master or leader to provide security and protection to his people.
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Description / Compositional Arrangement
Description / Compositional Arrangement
• This is a beautiful <b>vertical painting</b> showing Lord Krishna holding <b>Mount Govardhan</b> on the little finger of his left hand in an effortlessly relaxed posture.<br>• Krishna protects the villagers of <b>Gokul</b> and their livestock from torrential rains caused by the wrath of Indra.<br>• The mountain appears realistic through the depiction of <b>huge multicoloured rocks, large trees and animals</b> such as deer and monkeys.<br>• A little portion of the sky is visible above and even below the mountain.<br>• <b>Blue</b> is the dominant colour of the painting. On the left, a large tree with bright greenish-blue colours is shown.<br>• The people of <b>Brij</b> gather with their cattle under the mountain and take shelter from the flood caused by the angry rain-god Indra.<br>• Lord Krishna is depicted in his <b>Virat form</b>. Most of the figures are shown in <b>one-and-a-half chashm</b>.<br>• The rendering of the mountain shows a strong <b>Persian influence</b>.<br>• Krishna wears his usual <b>pitambara</b> and has <b>mor pankh</b>, or peacock feathers, on his head. A large garland of white flowers hangs from his neck.<br>• This painting was made for the <b>Harivansh manuscript</b>.
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About
About
Name: <b>Falcon on a Bird Rest</b><br>Artist: <b>Ustad Mansur</b><br>Period: <b>Circa 1618–1619 AD (Jahangir Period)</b><br>Medium: <b>Watercolour</b><br>Technique: <b>Tempera</b><br>Courtesy: <b>Maharaja Sawai Man Singh Museum, City Palace, Jaipur</b>
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Subject Matter
Subject Matter
Ustad Mansur portrays a falcon resting on a cushioned bird rest. He was famous for his excellent collection of falcon paintings.
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Human Life Values
Human Life Values
The painting reflects <b>love and care for birds and animals</b>.
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Description / Compositional Arrangement
Description / Compositional Arrangement
• <b>Falcon on a Bird Rest</b> is a famous painting made using the tempera technique on paper, with highly <b>realistic details</b>.<br>• The painting depicts a falcon that was attacked and killed by a cat. The falcon had been brought as a gift from the Persian emperor <b>Shah Abbas</b>.<br>• To preserve the memory of the dead falcon for posterity, the famous painter <b>Ustad Mansur</b> was asked to paint it as a magnificent work of art.<br>• The falcon is painted in <b>white against a yellow background</b>.<br>• The black marks on its wings suggest that it was the likeness of <b>Jahangir's pet falcon</b>.<br>• The expression of cruelty is depicted through its eyes. Its <b>sharp beak and round, alert eyes</b> are painted realistically.<br>• A patch of <b>light blue</b> marks the feathers on the back of its neck.<br>• A thin string is tied around the falcon's neck and hangs loosely on the ground.<br>• At the top of the painting, the text is written in <b>Devanagari script</b>: <b>Jahangir Patshah</b>.<br>• The words <b>Bahari</b> and <b>Uttam</b> refer to a falcon and excellent, respectively.
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About
About
Name: <b>Kabir and Raidas</b><br>Artist: <b>Ustad Fakirullah Khan</b><br>Period: <b>Circa 1640 AD</b><br>School: <b>Shahjahan School</b><br>Medium: <b>Tempera, watercolour on paper</b><br>Courtesy: <b>National Museum, New Delhi</b>
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Subject Matter
Subject Matter
The painting depicts the <b>love and respect between two religions</b> through the meeting of <b>Sant Kabir and Sant Raidas</b>. It was painted by <b>Ustad Fakirullah Khan</b> at the request of <b>Dara Shikoh</b>, the son of Shah Jahan.
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Human Life Values
Human Life Values
Dignity of labour, simple living and high thinking are reflected in the painting.
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Description / Compositional Arrangement
Description / Compositional Arrangement
• The painting is composed <b>horizontally</b> and is almost symmetrical.<br>• It is painted in only a few colours, using different tones of <b>yellow and brown</b>, creating a monochrome effect.<br>• <b>Sant Kabir</b> is shown sitting beside his hut and weaving a garment on his loom in a meditative mood.<br>• His companion, <b>Sant Raidas</b>, sits nearby on a <b>carpet</b>. Both saints are deeply involved in a discussion on a religious subject.<br>• Divine peace is visible on their faces.<br>• The painting presents a <b>simple and peaceful Indian life</b> in which work is considered worship.<br>• The saint's hut and the surrounding landscape represent the environment of <b>Indian villages</b>.<br>• Shades of <b>brown, black and white</b> are used, while the border is blue.<br>• Sophisticated rules of <b>perspective</b> have been successfully employed in the rendering of the hut and the background environment.<br>• <b>Light and shade</b> are used effectively to indicate the ribs of Sant Kabir.<br>• The painting is executed using the <b>tempera method on paper</b>.
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About
About
Name: <b>Marriage Procession of Dara Shikoh</b><br>Artist: <b>Haji Madni</b><br>Period: <b>Circa 1740–1750 AD</b><br>School: <b>Provincial Mughal</b><br>Medium: <b>Watercolour</b><br>Technique: <b>Tempera on paper</b><br>Size: <b>43 × 32 cm</b><br>Courtesy: <b>National Museum, New Delhi</b>
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Subject Matter
Subject Matter
The painting is based on the royal celebration of <b>Dara Shikoh's marriage ceremony</b> and reflects the magnificence of the royal wedding procession.
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Human Life Values
Human Life Values
Mutual respect between the bride's and groom's families and welcoming guests with an open heart are reflected in the painting.
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Description / Compositional Arrangement
Description / Compositional Arrangement
• The painting belongs to the period of <b>Shah Jahan</b> and was painted by <b>Haji Madni</b>.<br>• It presents a magnificent historical account of the wedding of <b>Dara Shikoh</b>, which involved an expenditure of <b>32 lakhs</b>. Half of the amount was spent by his elder sister, <b>Jahanara Begum</b>.<br>• Dara Shikoh was married to <b>Nadira Bano Begum</b> in <b>1633 AD</b>.<br>• This is a large horizontal painting made on paper. The <b>barat</b> is received by a large gathering of men, women and young boys from the bride's family.<br>• The artist has captured the <b>glitz and glamour</b> of the wedding procession.<br>• Most of the royal people in the barat are shown on horseback. The Mughal prince is riding a <b>brown horse</b>.<br>• He wears a <b>brocaded tunic</b> and a traditional veil or <b>sehra made of pearls</b>, covering his face.<br>• He is followed by three attendants: one carrying a <b>candle</b>, the second holding the horse and the third carrying a <b>chowrie</b>.<br>• <b>Firecrackers</b> and magnificent decorations are visible in the background.<br>• The painting has a <b>beautifully decorated border</b>.<br>• The composition brings out the <b>glee and joy of the festive occasion</b>.