UNIT 2

MUGAL SCHOOL OF ART

MINIATURE PAINTING
(period :15th century A.D.)
•Introduction
• Origin and Development
• Sub-schools – Akbar , Jahangir
, Shahjahan and Provincial
Mughal (Avadh )
Paintings of Mughal school
TITTLE ARTIST SUB-SCHOOL
KRISHNA MISKIN AKBAR
LIFTING
MOUNT
GOVERDHAN
FALCON ON USTAD JAHANGIR
BIRTH REST MANSOOR
KABIR AND USTAD SHAHJAHAN
RAIDAS FAQUIRULLAH
KHAN
MARRIAGE HAJI MADNI AVADH
PROCESSION
OF DARA
SHIKOH
 ORIGIN AND DEVELOPMENT OF
MUGHAL ART

ORIGIN
The origin of Mughal school painting
is considered to be a landmark in the
history of Indian painting.
The Mughals were great lovers of art .
The Mughal school was not a new
style itself but it was the same
Rajasthani school well refined and
polished by the Persian effect.
Babur

Babur was from Timur’s family

and he inherited Timur’s quality
of patronizing music, poetry, art
and philosophical learning . He
established Mughal empire in
India in 1526.
 Humayuan son
of BABUR

Humayuan, his son was born with

his father’s artistic inclination.
Humayuan had two master
Painters Khawaja Abdussamad
and Meer Sayyaid Ali in his court
who came from Kabul.
ThesePersian artists painted in
their own style in that time.
INFLUENCE of MUGHAL
ART
Mughals were very much
impressed by the Rajasthani
school. Thus a new style of
painting
was developed by the mixture of
Rajasthani and Persian style
which was known as the Mughal
school of miniature painting.
AKBAR AND DEVLOPMENT
 Humayun died in 1556 A.D. after ascending the
throne of Delhi and left his son,
 AKBAR, only child as his successor.
 Akbar was only THIRTEEN at that time.
 Emperor Akbar was keenly interested in the art of
Painting and Architecture as well as Sculpture also.
 Akbar was a man of great strength of character and
had a broad vision.
 MUGHAL SCHOOL of Painting was organized and
reached it’s zenith during this time.
 A large number of Indian artists from all over India
were recruited to work in hiscourt.
 There are many manuscripts that were illustrated in
his time.
AKBAR
Akbar can be called the true founder of the
Mughal school of miniature painting in India.
After Akbar Mughal Painting reached its
climax in the reign of Jahangir and
Shahjahan was more interested in
architecture. Painting saw a downfall in his
reign.
The Mughal school of painting came to a stop
in the reign of Aurangzeb. As he was a
fanatic Muslim. No fine art could find a place
in his court.
The contribution of Akbar and Jahangir in the
development of this school is remarkable.
CHARACTERISTICS OF MUGHAL
PAINTING
 Profile Faces: Profile faces is the main characteristics
of Mughal style.
 This is the contribution of Rajasthani painting to the
Mughal school. Almost all the portraits are Ekchashma.
(Single eyed or profile) whether the figure is full or half
but the faces are EK-chasma.
 Special Ornamentation of Borders :This is the
main effect of Iranian art on Mughal painting.
 In Iran there was a tradition of decorating a painting
by ornamented borders.
 Mughals maintained the same tradition here also.
Creepers, human figures, birds and animals have
been
used in preparing the same.
•Book Illustrstions:
•Book illustrations are the prime subject of
Mughal miniature. Mostly historical scenes have
been
painted in Mughal School. In fact most of such
work was done in the time of Akbar.
•Indian books were also translated into Persian
in which paintings on Panchtantra, Mahabharata
and Ramayana etc. were prepared.
•Ornamental Designs
•In the paintings of court scenes we find
beautiful ornamental designs on walls of
palaces, ceilings and floors. They have been
ornamented with creepers and flowers.
•The calligraphic inscriptions, halo around the
emperor’s head and decorated borders are the
main features in this type.
6. Portrait Painting
There is an abundance of portraiture in the
Mughal school but there are less portraits of
noble ladies as Mughal miniature is male
dominated in character. Portraits of saints have
also been painted along with the emperors.
7. Depiction of Nature
Tree, plants, rivers and mountain etc. have been
beautifully depicted in Mughal painting.
If there are three types of trees in a painting
their leaves have been painted differently.
8.Gold and Silver colours
There is an extensive use of Gold and Silver
colours in Mughal paintings.
It is used mostly in the jewellery and also in the
borders of paintings.
•9 Fine Line Drawing
•The craftsmanship by which lines have been
drawn is matchless. Brushes with the single
hair were used. The beautiful and appropriate
use of fine lines can be judged by portrait
paintings of that style.
•The artists have tried to paint each and every
hair of the beard in the portraits.
•10 Colour Scheme
•During Jahangir’s reign gaudy and bright
colours were replaced by soft, subdued and
less enamel colours which pleased both eyes
and heart.
•In the end it can be said that the Mughal
painting was confined to court only and the
depiction of masses or the general life is not
there.
PLATE NO.1 (painting )
Title - Krishna Lifting Mountain Goverdhan
Artist -Miskin
School - Akbar School Period- 1585-90
Medium- Water colour , Technique -Tempera
on paper
SUBJECT MATTER/COMPOSITIONAL
An early painting from Akbar’s court studio
shows
Krishna lifting mount Goverdhan on his little
finger to give shelter to the Braj folk from the
anger
of rain God, Indra. A huge mountain full of
flora
and fauna, deers, monkeys, trees, shrubs and
grassy
fields are painted between rocky ridges of the
mountains.
COLOUR SCHEME
•Blue colour is dominating
in the painting. Green, White,
Red, Orange, Brown,
Yellow ochre are used
in the painting.
PLATE NO.2(painting)
Title - Falcon On A Bird Rest
Artist - Ustad Mansoor
Medium - Water colour,
Technique - Tempera on paper
Period - 1618-1620
School - Jahangir
SUBJECT MATTER / COMPOSITIONAL
Jahangir, a keen falcon lover, treasured fine
specimens of falcons brought from different
places.
A superb falcon brought by Shah Alam as a
present
from the Persian emperor Shah Abbas, was
mauled
by a cat and died. Jahangir asked painters to
take
In this famous painting Mansoor has painted
a tamed Folcon resting on the cushioned bird
rest. The bird is painted in a great realistic
manner with the refinement of details. An
isolated figure of the falcon is centrally
positioned in the composition. The expression of
cruelty in its eye is remarkable. The Nagari
inscription Jahangir Patshah is on the top, while
the words bahari means falcon and uttam
means excellent are also written on the paining.
COLOUR SCHEME
The Falcon is painted in white against the yellow
background which is contrasted with brown
details of its folded wings. A sharp beak and
round vigilant eye are painted with the shades
of deep yellow ochre and light brown. A thin
string is tied around the falcon’s neck which
hangsloosely to the ground.
COLOUR SCHEME
The Falcon is painted in
white against the yellow
background which is
contrasted with brown
details of its folded
wings. A sharp beak and
round vigilant eye are
painted with the shades
of deep
yellow ochre and light
brown. A thin string is
tied around the falcon’s
neck which hangs
loosely to the ground.
Collection:- Maharaja
Sawai Mansingh
PLATE NO -3 painting
Title - Kabir And Raidas
Artist - Ustad Faquirullah Khan
Medium - Water colour
Technique - Tempera on paper
Period - 1640 period
School - Shahjahan
SUBJECT MATTER / COMPOSITIONAL
Ustad Faquirullah khan was the head painter
of Shahjahan’s court studio. Shahjahan
respected both Hindu and Muslim saints and
holy men. He got these holy men painted.
This is a master piece of the same series. In
this horizontal painting saint Kabir is painted
besides his hut weaving on loom. Raidas is
sitting close by Both are lost in their own
thoughts as if they are meditating. The
painting brings forth the simple and peaceful
The hut of the
saint and landscape
represent the
rural atmosphere
of Indian village.
The colours
used are shades
of green and brown.
Rules of perspective are
successfully employed
in the rendering of hut
and the atmosphere
in the
background.
Light and shadow is used
to indicate the ribs of Saint Kabir.
Name :Birth of Salim
Painter :Ramdas
Period :Akbar
Medium :Water colours on paper

Technique:Tempera
Circa :1590 A.D.
Collection:National Museum,New Delhi
SUBJECT MATTER / COMPOSITIONAL
This miniature has been painted very
beautifully in Mughal style by Ramdas in 1590
AD. The theme of this painting is based on an
episode of Akbar Nama. It was on the occasion
on birth of Prince Salim the whole people of
Fatehpur Sikri and courtiers played music and
celebrating the occasion. Some of them
playing drum, clarinet and other instruments.
It is a typical example of the later manner of
Emperor’s court artists. The birth scene of the
son of Akbar. The upper compartment into
which the picture is divided, the other two
being filled with musicians and servants, with
the surging excited crowd outside. Beyond is a
rocky landscape.
The painting is a good
example of the bustling
movement and stress which
Akbar’s painters often
introduced into their work.
Among other points of interest
in the painting is that the
upper portion is the typical
bird’s eye view while for the
lower panel the artist
(Ramdas) is on a level with the
scene depicted.
The strong colour contrasts,
and the marked European
influence, especially in the
scenery and apparel, are
especially evident in this
painting.
PLATE NO – 4 PAINTING
Title - Marriage Procession of Dara Shikoh
Artist - Haji Madni
Medium - water colour Tempera on paper
Period - 1740 - 1750 (Avadh Mughal)

SUBJECT MATTER / COMPOSITIONAL

This meticulously done painting brings forth all the
joy and gaiety of marriage occasion of Prince Dara
Shikoh. It also portrays the glamour of the royal
court .In the light of fireworks, candles and torches
the wedding procession of the young prince is
preceding towards the bride’s house. The large
gathering of men, women and young boys is joyfully
receiving the barat.Dara Shikoh is shown occupying
the central position, followed by his father Shahjahan
having a halo around his head. All the figures and
horses are shown in profile. A group of ladies is
The clapping and singing
relatives are dressedin
brilliantly coloured dresses,
decorated with gold. A
young boy is dancing to the
tune of clapping and drum
beats in the right hand.
COLOUR SCHEME:
White, Red, Green, Mauve,
Gold, Brown Turquoise blue
with a touch of Greyish
black.
PRACTICAL
Beside this theory u
have to do
practical too as I
told u before
please try to do
atlest 3 object
drawing and two
nature study one
color each… I am
showing u some
exaple in next
slides …