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Origin and Development in Medieval India, Mughal School of Miniature Painting Was Recognised As the Art of Aristocracy

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Origin and Development in Medieval India, Mughal School of Miniature Painting Was Recognised As the Art of Aristocracy Origin and Development In medieval India, Mughal school of miniature painting was recognised as the art of aristocracy. The Mughal Art was quite different from the Sultanate Art or the Islamic Art which was prevalent in Deccan Muslims' empires, because theme, style of art, human figures and artists of the Islamic art came from the Islamic world of Persia or Iran and Turkey. The paintings painted by them were Indian only in the context that they were painted on Indian ground, but the feeling of Indianness was not in them at all. The view of the Mughal Art was quite different from the Sultanate Art or the Islamic Art. It was not only Indian but also looked Indian. The artists of that period had initiated to represent the Islam even in Indian style with the Indian subject-matter. In that way, the Mughal Art was not the Islamic art at all, only the Islamic elements were included in that to make it more prosperous. On the basis of development, there are three phases of the Mughal Art: 1. Art during Akbar's Period. Akbar is acknowledged as the father of Mughal Art. Because his two predecessor rulers—Babar and Humayun—remained busy in stabilizing the empire. When 13-year old Akbar became king, he not only stabilized the Mughal empire with his intellectual skilß and expert leadership but also encouraged his architectural skills, art skills (painting) and book writing skills. For the picturisation of the books he established a Tasvirkhana house in his court. He got a paper-mill established in Syalkot (now in Pakistan) to make compulsory and continuous supply of paper. It is because of the good attitudes of Akbar towards the Hindu and other religions that today we observe the inclusion of the best Indian as well as the best Islamic elements and themes of art. The artists of Akbar court very beautifully included the Islamic values and royal Iranian themes with the Hindu style and the Indian aesthetic sense in their paintings. So, the art could get new direction during his period. In the Akbar's courtier, the Hindu painters were in majority but they were to work under the direction of two Iranian master artists—Mir Saiyad Ali and Abdus Samad. In that way, the elements of two different styles of painting were spontaneously included in the paintings of those artists/ painters. Akbar did not get formal education. So, he is known as illiterate king. But, he got translated the best Indian literature into Persian and the best Persian literature into 45 Hindustani. It is acceded that when Akbar died, there were about twenty-four thousand illustrated manuscripts of the world-fame literature in his library. It reveals that, together with tolerance, how skilled he was in art, knowledge and intellectual matters. Akbar's regime was the initiative period of the Mughal Art. Nevertheless, in that period the preference was given to systematic and serialised painting of the significant volumes of the Ramayana, the Mahabharata, Harivansh Purana, Hamjanama, Shahnama, Tutinama, Babarnama, etc. In that period, a few portraits were painted, but the women portraits were not allowed to paint except professional women and dancers. Characteristics: In these paintings, we can see the co-ordination with excellent colourmixture, clear execution, the vibrating or gliding lines, too minute delineation, overcrowded but balanced figures, potential demonstration, balanced body assemblage, pretty round faces and full-fledged screen. 2. Art during Jahangir Period. Jahangir was a very sharp sighted and sensitive against the charming beauty of both the humans and nature. Poeticism and imaginativeness was present in Jahangir's character. The impressions in paintings of his period are more evident. The paintings of birds and animals are counted among the best paintings of the world. During Jahangir's regime, reconciliation with the European world increased. Consequently, European elements of art—light and shadow, and feelings of three- dimensional aspects—were included in Indian art. 3. Art during Shahjahan Period. Shahjahan preferred architecture rather than paintings. For that very purpose, the art of his predecessor Mughals although remained continue yet it was not so effective as before. Except a selected few love-stories, such as ofDarashikohRanadil, Bqjbahadur-Roopmati, Laila-Mqjnu, and the serialised painting on different themes were abandoned. Characteristics: The delineation on applied subjects such as individual delineation, courtly scenes, pageants, festivals, picnics, etc. was started to be liked. Nature and background was more placid, tender and attractive. Decorative elements were started giving preference. Romantic and fastidious Shahjahan did not like violence and ugliness at all. For that very purpose in the painting of his period, there is an absence of such delineation like hunting, animal fights, violence and wars or battles whereas there is plenty of all the elements of symbols of beauty. 4. Declining the Mughal Art. Aurangzeb was an orthodox Muslim. There was no place for all the forms of art in his regime. Therefore, no work was left for the artists/painters after declining of the Mughal court. So, they started going towards the independent provinces and states. Wherever those artists went, carried with them the style of the Mughal painting and art. But taking into consideration the demand of the time, the likeness, dislikeness and interests of new patrons and the elements of art existed beforehand, the elements and the style of the Mughal art were also included in paintings. In this way, the new style was developed with the blend of both the styles which is known as 'Provincial Mughal Style'. Avadh became the leading centre of that newly developed style of History of Indian Art—XIl painting/art, whereas in Datiya painting work continued in pure Mughal style for a long time. 46 Study of the Miniature Paintings of Mughal School I. Kabir and Raidas Name Kabir and Raidas Medium Water colours on paper Technique Painter Ustad Faquirullah Khan Period Shahjahan Tempera Circa 1640 A.D. Collection National Museum, New Delhi DESCRIPTION This miniature painting was painted by Ustad Faquirullah Khan in 1640 A.D. on the request Of Dara Shikoh, the lovely son of Shahjahan. Dara Shikoh paid due respect to Sufis and saints. During Shahjahan's regime, the fame of saint Kabir and Raidas was spread far and wide. Having effected on this very reason, this picture was caused to make by tempera technique The Mughal School of Miniature Painting of water colours on paper. In this picture saint Kabir has been shown weaving cloth out of his hut. Close to him saint Raidas is sitting on a carpet on the ground. Both the saints seem discussing on some myst,ery. The tracing of ribs on half-naked body is apparent. Both the saints have tied turbans on their heads, In the painting, the delineation of rural surrounding is real. Tracing of the hut is clear. The painter seems to be successful in making the picture live with numerous shades of only brown, black and white colours. On all the four sides of the picture, the painter has drawn borders of sufficient width with two colours which is the speciality of that school. 47 History of Indian Art—XIl Krishna Lifting Mount Govardhana The Mughal School of Miniature Painting 48 2. Krishna Lifting Mount Govardhana Name Krishna Lifting Mount Govardhana Painter Miskin Period Akbar Medium Water colours on paper Technique Tempera Circa 1585-1590 A.D. Collection National Museum, New Delhi DESCRIPTION This miniature was painted by Miskin during the period of Akbar's regime in 1585—1590 A.D. This painting is a specific creation of Akbar's library. This was drawn for the manuscript of Harivansh Puran. In this picture, blue-skin Krishna has been shown lifting up the multi-coloured Govardhana parvata on his left hand as if it is weightless. Krishna has worn yellow clothes. There are several multi-coloured wreaths around his neck. One of the wreaths is made up of white, red, yellow and blue flowers and spread from his shoulders to his feet. He worn a crown on his head which is made of peacock's tail feathers. He has been shown bending his neck down, and saying something to those Gokul dwellers who are standing with their cattle under the umbrella-shaped hill to refrain themselves from Indra's wrath. The hill has been shown with the lights of different colours in Persian style; upon that many kinds of creatures have been shown wandering here and there. A few of the trees have been shown with green and green-yellow colours. The dense clouds, over the hill, have been shown with dark blue colour. History of Indian Art—XIl The Mughal School of Miniature Painting Marriage procession of Dara Shikoh 54 5. Marriage procession of Dara Shikoh Name Marriage procession of Dara Shikoh Painter Haji Madni Period Provincial Mughal Medium Water colours on paper Technique Tempera Circa 1740 -50 A.D. Collection National Museum, New Delhi DESCRIPTION Haji Madni has composed this miniature very placidly and clearly on a bigger paper, with tempera technique of water colour during the period of 1740-50 A.D. In this multi-coloured and extensive painting, a group of persons has been shown on the right side standing on the ground and another one is on the left side mounted on horses of different colours and elephants which have been shown in rows. In this painting the painter has shown the distinctive marriage procession of Dara Shikoh. The elephants have been used for female members of groom side. A few male members of marriage procession have also been mounted on elephants for beating the big-sized kettle-drums.
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