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Genealogical paintings of this sort, emphasizing the rulers' lineage, are known in Mughal art, and one of the most famous examples of this is the Princes of the House of Timur in the British Museum. [4] The painting is one of the last works of the Bijapur school of miniature painting, representing the final phase of the style.
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.
Mazhar Ali Khan was a late-Mughal era, 19th century painter from Delhi, working in the Company style of post-Mughal painting under Western influence. He was active from 1840, and is known for his noted work of topographical paintings commissioned by Sir Thomas Metcalfe's, Delhi Book.
Indian miniature paintings are a class of paintings originating from India. [1] Made on canvases a few inches in length and width, the Indian miniatures are noted for the amount of details that the artist encapsulates within the minute canvas frame; and the characteristic sensitivity with which the human, divine and natural forms are portrayed. [2]
Govardhan (fl. 1595–1640) [1] was a Mughal era Indian painter of the Mughal school of painting. His father Bhavani Das, had been a minor painter in the imperial workshop. Like many other Mughal painters, they were Hindus. He joined the imperial service during the reign of Akbar and he continued his work till the reign of Shah Jahan. The ...
Delhi Book or Delhie Book titled Reminiscences of Imperial Delhi is a collection of paintings done in Company style, commissioned by Sir Thomas Metcalfe in 1844. It contains 120 paintings by Indian artists, mainly by Mughal painter, Mazhar Ali Khan. [1] The book was bought by the British Library in London. [2]
The painting is highly detailed and is presumed to be an Indian chameleon on account of the highly detailed view of the feet of the animal showing each foot exhibiting "fused digits in opposed groups", a lighter band by the edge of the mouth, and a line of white scales on the underside of the belly. [19] Mansur was also a capable portrait artist.
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] The painting signifies Jahangir's reverence towards the saint, spurning the great monarchs vying for his audience.