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Govardhan, Emperor Jahangir visiting the ascetic Jadrup, c. 1616–1620 [1]. Mughal painting is a South Asian style of painting on paper made in to miniatures either as book illustrations or as single works to be kept in albums (), originating from the territory of the Mughal Empire in the Indian subcontinent.
The Fraser Album is a collection of paintings commissioned by the British Indian civil servant William Fraser. It is considered among the greatest masterpieces of Company painting. [1] [2] This work is an important documentation of the Mughal empire towards its end. Khan Bahadur Khan with Men of his Clan, c. 1815
Ragini Todi. Mughal, c. 1750. Salar Jung Museum. In 1570, Kshemakarna, a priest of Rewa in Central India, compiled a poetic text on the Ragamala in Sanskrit, which describes six principal Ragas—Bhairava, Malakoshika, Hindola, Deepak, Shri, and Megha—each having five Raginis and eight Ragaputras, except Raga Shri, which has six Raginis and nine Ragaputras, thus making a Ragamala family of ...
The Gulshan album was an early project of the cultured Mughal emperor Jahangir (r. 1605–1627). [7] Based on internal inscriptions, the collection was probably begun about 1599, while Jahangir was still Prince Salim, governor of Allahabad and son of the ageing Emperor Akbar, and continued till about 1609. [6]
Mughal painting is a style of Indian painting, generally confined to illustrations on the book and done in miniatures, and which emerged, developed and took shape during the period of the Mughal Empire between the 16th and 19th centuries. [29]
Ustad Mansur (died 1624) was a seventeenth-century Indian painter and naturalist who served as a Mughal court artist. During which period he excelled at depicting plants and animals. He was the earliest artist to depict the dodo in colour, apart from being the first to illustrate the Siberian crane.
In the bottom-left corner of the image is the artist Bichitr. He is portrayed wearing a Hindu-styled robe, and holding up a painting. Stuart C. Welch interprets this painting to be of Bichitr himself bowing to the emperor. This self-insertion as a sort of signature, became a custom in Mughal painting in the coming years. [6] [1] [4] [5]
A similar example from South India is from the late 16th century in Vijayanagar, which is also a combination of an elephant and a horse. It is difficult to ascertain the first Mughal painting of composite art, but several images have been found from the court of Akbar. These paintings were devoid of any colour and were done in pencil.