NCERT Textbook - The Mughal School of Miniature Painting | Fine Arts for Grade 12 PDF Download

 Page 1


3
The Mughal School of Miniature Painting
M
ughal painting is the style of miniature painting that 
developed in the northern Indian subcontinent in the 
sixteenth century and continued till the mid–nineteenth 
century. It is known for its sophisticated techniques and 
diverse range of subjects and themes. The Mughal miniature 
painting inspired and resonated in subsequent schools and 
styles of Indian painting, thereby, confirming a definite 
position for the Mughal style within the Indian school of 
paintings. 
The Mughals were patrons of various art forms. Every 
Mughal successor, based on his taste and preferences, 
contributed towards enhancing the status of art, viz., 
calligraphy, painting, architecture, bookmaking, book 
illustration projects, etc. They took keen interest in artists’ 
ateliers and nurtured unprecedented new styles that 
heightened and accelerated the existing art scenario of 
India. Therefore, for understanding the Mughal Painting, the 
political history and genealogy of the Mughal dynasty is often 
taken into account. 
Influences on Mughal Painting
The Mughal style of miniature painting was responsible for 
the amalgamation of indigenous themes and styles along 
with Persian and later European themes and styles. The arts 
of this period reflect a synthesis of foreign influences and 
indigenous flavour. The peak of Mughal painting presented a 
highly sophisticated blend of the Islamic, Hindu and European 
visual culture and aesthetics. Given this diverse yet inclusive 
nature, the affluence of the artworks produced in India during 
this period surpasses the conventional and indigenous 
Indian and Iranian painting of that time. The significance of 
this style lies in the purpose and efforts of its patrons and 
the unmatched skill of its artists. Together, they envisaged 
and expressed a congregation of tastes, philosophies and 
faiths by their extraordinary visual language.
1_3.Mughal School Folder.indd   35 01 Sep 2020   02:15:59 PM
Rationalised 2023-24
Page 2


3
The Mughal School of Miniature Painting
M
ughal painting is the style of miniature painting that 
developed in the northern Indian subcontinent in the 
sixteenth century and continued till the mid–nineteenth 
century. It is known for its sophisticated techniques and 
diverse range of subjects and themes. The Mughal miniature 
painting inspired and resonated in subsequent schools and 
styles of Indian painting, thereby, confirming a definite 
position for the Mughal style within the Indian school of 
paintings. 
The Mughals were patrons of various art forms. Every 
Mughal successor, based on his taste and preferences, 
contributed towards enhancing the status of art, viz., 
calligraphy, painting, architecture, bookmaking, book 
illustration projects, etc. They took keen interest in artists’ 
ateliers and nurtured unprecedented new styles that 
heightened and accelerated the existing art scenario of 
India. Therefore, for understanding the Mughal Painting, the 
political history and genealogy of the Mughal dynasty is often 
taken into account. 
Influences on Mughal Painting
The Mughal style of miniature painting was responsible for 
the amalgamation of indigenous themes and styles along 
with Persian and later European themes and styles. The arts 
of this period reflect a synthesis of foreign influences and 
indigenous flavour. The peak of Mughal painting presented a 
highly sophisticated blend of the Islamic, Hindu and European 
visual culture and aesthetics. Given this diverse yet inclusive 
nature, the affluence of the artworks produced in India during 
this period surpasses the conventional and indigenous 
Indian and Iranian painting of that time. The significance of 
this style lies in the purpose and efforts of its patrons and 
the unmatched skill of its artists. Together, they envisaged 
and expressed a congregation of tastes, philosophies and 
faiths by their extraordinary visual language.
1_3.Mughal School Folder.indd   35 01 Sep 2020   02:15:59 PM
Rationalised 2023-24
36 An IntroductIon to IndIAn Art —PArt II
In the Mughal courts, arts became more formalised as 
there were workshops and many artists were brought from 
Iran, which resulted in a harmonious blend of Indo-Iranian 
styles, especially during its early years. This celebrated 
eminence in Mughal art was possible only due to its distinctive 
character of assimilating and engaging artists of both Indian 
and Iranian origins, who contributed towards making, and 
further elevating the artistic paradigm of the Mughal style. 
The Mughal atelier consisted of calligraphers, painters, gilders 
and binders. Paintings recorded and documented significant 
events, personalities and interests of the emperors. These were 
meant to be seen by the royals only. The paintings were made 
to suit the sensitivity of the royals or often made as intellectual 
stimulation. The paintings were a part of manuscripts 
and albums.
The tradition of art and painting had rich historical roots 
in India about which we have already learned in the previous 
chapters. The celebrated Mughal idiom that developed on 
the Indian soil should be understood as a consequence of 
interaction of various schools, including the pre–Mughal 
and contemporaneous art schools of India and Persia. Thus, 
the Mughal style did not grow in vacuum. It was nurtured 
by direct interaction with other art forms and schools that 
already existed. The indigenous Indian and Mughal painting 
styles coexisted, assimilated the influences and various 
native talents in different ways.
The pre–Mughal and parallel indigenous schools of paintings 
in India had their strong distinct style, aesthetics and 
purpose. The indigenous Indian style emphasised on flat 
perspective, strong use of lines, vivid colour palette, and bold 
modelling of figures and architecture. The Mughal style offered 
subtlety and finesse, portrayed almost three-dimensional 
figures and created optical reality. The royal court scenes, 
portraits, depiction of accurate flora and fauna were some of 
the favourite themes of the Mughal artists. Thus, the Mughal 
painting ushered in a new style and sophistication to the 
Indian arts of that time.
The Mughal patrons contributed to the proliferation 
of the Mughal style of painting with their distinct artistic 
preferences, choice of subjects, philosophies and aesthetic 
sensibilities. In the following segment of this chapter, we shall 
learn about the development of Mughal miniature painting in 
chronological order. 
1_3.Mughal School Folder.indd   36 01 Sep 2020   02:15:59 PM
Rationalised 2023-24
Page 3


3
The Mughal School of Miniature Painting
M
ughal painting is the style of miniature painting that 
developed in the northern Indian subcontinent in the 
sixteenth century and continued till the mid–nineteenth 
century. It is known for its sophisticated techniques and 
diverse range of subjects and themes. The Mughal miniature 
painting inspired and resonated in subsequent schools and 
styles of Indian painting, thereby, confirming a definite 
position for the Mughal style within the Indian school of 
paintings. 
The Mughals were patrons of various art forms. Every 
Mughal successor, based on his taste and preferences, 
contributed towards enhancing the status of art, viz., 
calligraphy, painting, architecture, bookmaking, book 
illustration projects, etc. They took keen interest in artists’ 
ateliers and nurtured unprecedented new styles that 
heightened and accelerated the existing art scenario of 
India. Therefore, for understanding the Mughal Painting, the 
political history and genealogy of the Mughal dynasty is often 
taken into account. 
Influences on Mughal Painting
The Mughal style of miniature painting was responsible for 
the amalgamation of indigenous themes and styles along 
with Persian and later European themes and styles. The arts 
of this period reflect a synthesis of foreign influences and 
indigenous flavour. The peak of Mughal painting presented a 
highly sophisticated blend of the Islamic, Hindu and European 
visual culture and aesthetics. Given this diverse yet inclusive 
nature, the affluence of the artworks produced in India during 
this period surpasses the conventional and indigenous 
Indian and Iranian painting of that time. The significance of 
this style lies in the purpose and efforts of its patrons and 
the unmatched skill of its artists. Together, they envisaged 
and expressed a congregation of tastes, philosophies and 
faiths by their extraordinary visual language.
1_3.Mughal School Folder.indd   35 01 Sep 2020   02:15:59 PM
Rationalised 2023-24
36 An IntroductIon to IndIAn Art —PArt II
In the Mughal courts, arts became more formalised as 
there were workshops and many artists were brought from 
Iran, which resulted in a harmonious blend of Indo-Iranian 
styles, especially during its early years. This celebrated 
eminence in Mughal art was possible only due to its distinctive 
character of assimilating and engaging artists of both Indian 
and Iranian origins, who contributed towards making, and 
further elevating the artistic paradigm of the Mughal style. 
The Mughal atelier consisted of calligraphers, painters, gilders 
and binders. Paintings recorded and documented significant 
events, personalities and interests of the emperors. These were 
meant to be seen by the royals only. The paintings were made 
to suit the sensitivity of the royals or often made as intellectual 
stimulation. The paintings were a part of manuscripts 
and albums.
The tradition of art and painting had rich historical roots 
in India about which we have already learned in the previous 
chapters. The celebrated Mughal idiom that developed on 
the Indian soil should be understood as a consequence of 
interaction of various schools, including the pre–Mughal 
and contemporaneous art schools of India and Persia. Thus, 
the Mughal style did not grow in vacuum. It was nurtured 
by direct interaction with other art forms and schools that 
already existed. The indigenous Indian and Mughal painting 
styles coexisted, assimilated the influences and various 
native talents in different ways.
The pre–Mughal and parallel indigenous schools of paintings 
in India had their strong distinct style, aesthetics and 
purpose. The indigenous Indian style emphasised on flat 
perspective, strong use of lines, vivid colour palette, and bold 
modelling of figures and architecture. The Mughal style offered 
subtlety and finesse, portrayed almost three-dimensional 
figures and created optical reality. The royal court scenes, 
portraits, depiction of accurate flora and fauna were some of 
the favourite themes of the Mughal artists. Thus, the Mughal 
painting ushered in a new style and sophistication to the 
Indian arts of that time.
The Mughal patrons contributed to the proliferation 
of the Mughal style of painting with their distinct artistic 
preferences, choice of subjects, philosophies and aesthetic 
sensibilities. In the following segment of this chapter, we shall 
learn about the development of Mughal miniature painting in 
chronological order. 
1_3.Mughal School Folder.indd   36 01 Sep 2020   02:15:59 PM
Rationalised 2023-24
t he MughAl School of MInIAture PAIntIng 37
Early Mughal Painting
In 1526, Babur, the first Mughal emperor, came from present 
day Uzbekistan and was a descendent of Emperor Timur 
and Chatghtai Turk. With this, he blended the cultural 
background and aesthetic sensibilities of Persia and Central 
Asia. Babur had a dynamic taste for a variety of arts. He 
is reputed to be a man of letters and a keen patron of art, 
manuscripts, architecture, gardening, etc. Babur’s detailed 
accounts in Baburnama, his autobiography, are narratives 
of the emperor’s political carrier and artistic passion. 
Baburnama reflects the love and fondness that Babur had as 
an outsider for the Indian land and ecology. With his fervour 
for detailed writing, Babur established a tradition of keeping 
memoirs, a practice which was followed by his successors 
in India. The books and albums that were produced in the 
royal ateliers were not only calligraphed but also painted. 
These books of value were preserved and passed on to 
members of the royal family or gifted to those perceived as 
deserving. Babur had a keen eye for portraiture and this is 
also recorded in his memoirs. Among the artists, who find 
mention in Babur’s memoirs is Bihzad. Bihzad’s work was 
Princes of the House of Timur, 
Abd us Samad, 
1545–50, British Museum, 
London
1_3.Mughal School Folder.indd   37 01 Sep 2020   02:16:00 PM
Rationalised 2023-24
Page 4


3
The Mughal School of Miniature Painting
M
ughal painting is the style of miniature painting that 
developed in the northern Indian subcontinent in the 
sixteenth century and continued till the mid–nineteenth 
century. It is known for its sophisticated techniques and 
diverse range of subjects and themes. The Mughal miniature 
painting inspired and resonated in subsequent schools and 
styles of Indian painting, thereby, confirming a definite 
position for the Mughal style within the Indian school of 
paintings. 
The Mughals were patrons of various art forms. Every 
Mughal successor, based on his taste and preferences, 
contributed towards enhancing the status of art, viz., 
calligraphy, painting, architecture, bookmaking, book 
illustration projects, etc. They took keen interest in artists’ 
ateliers and nurtured unprecedented new styles that 
heightened and accelerated the existing art scenario of 
India. Therefore, for understanding the Mughal Painting, the 
political history and genealogy of the Mughal dynasty is often 
taken into account. 
Influences on Mughal Painting
The Mughal style of miniature painting was responsible for 
the amalgamation of indigenous themes and styles along 
with Persian and later European themes and styles. The arts 
of this period reflect a synthesis of foreign influences and 
indigenous flavour. The peak of Mughal painting presented a 
highly sophisticated blend of the Islamic, Hindu and European 
visual culture and aesthetics. Given this diverse yet inclusive 
nature, the affluence of the artworks produced in India during 
this period surpasses the conventional and indigenous 
Indian and Iranian painting of that time. The significance of 
this style lies in the purpose and efforts of its patrons and 
the unmatched skill of its artists. Together, they envisaged 
and expressed a congregation of tastes, philosophies and 
faiths by their extraordinary visual language.
1_3.Mughal School Folder.indd   35 01 Sep 2020   02:15:59 PM
Rationalised 2023-24
36 An IntroductIon to IndIAn Art —PArt II
In the Mughal courts, arts became more formalised as 
there were workshops and many artists were brought from 
Iran, which resulted in a harmonious blend of Indo-Iranian 
styles, especially during its early years. This celebrated 
eminence in Mughal art was possible only due to its distinctive 
character of assimilating and engaging artists of both Indian 
and Iranian origins, who contributed towards making, and 
further elevating the artistic paradigm of the Mughal style. 
The Mughal atelier consisted of calligraphers, painters, gilders 
and binders. Paintings recorded and documented significant 
events, personalities and interests of the emperors. These were 
meant to be seen by the royals only. The paintings were made 
to suit the sensitivity of the royals or often made as intellectual 
stimulation. The paintings were a part of manuscripts 
and albums.
The tradition of art and painting had rich historical roots 
in India about which we have already learned in the previous 
chapters. The celebrated Mughal idiom that developed on 
the Indian soil should be understood as a consequence of 
interaction of various schools, including the pre–Mughal 
and contemporaneous art schools of India and Persia. Thus, 
the Mughal style did not grow in vacuum. It was nurtured 
by direct interaction with other art forms and schools that 
already existed. The indigenous Indian and Mughal painting 
styles coexisted, assimilated the influences and various 
native talents in different ways.
The pre–Mughal and parallel indigenous schools of paintings 
in India had their strong distinct style, aesthetics and 
purpose. The indigenous Indian style emphasised on flat 
perspective, strong use of lines, vivid colour palette, and bold 
modelling of figures and architecture. The Mughal style offered 
subtlety and finesse, portrayed almost three-dimensional 
figures and created optical reality. The royal court scenes, 
portraits, depiction of accurate flora and fauna were some of 
the favourite themes of the Mughal artists. Thus, the Mughal 
painting ushered in a new style and sophistication to the 
Indian arts of that time.
The Mughal patrons contributed to the proliferation 
of the Mughal style of painting with their distinct artistic 
preferences, choice of subjects, philosophies and aesthetic 
sensibilities. In the following segment of this chapter, we shall 
learn about the development of Mughal miniature painting in 
chronological order. 
1_3.Mughal School Folder.indd   36 01 Sep 2020   02:15:59 PM
Rationalised 2023-24
t he MughAl School of MInIAture PAIntIng 37
Early Mughal Painting
In 1526, Babur, the first Mughal emperor, came from present 
day Uzbekistan and was a descendent of Emperor Timur 
and Chatghtai Turk. With this, he blended the cultural 
background and aesthetic sensibilities of Persia and Central 
Asia. Babur had a dynamic taste for a variety of arts. He 
is reputed to be a man of letters and a keen patron of art, 
manuscripts, architecture, gardening, etc. Babur’s detailed 
accounts in Baburnama, his autobiography, are narratives 
of the emperor’s political carrier and artistic passion. 
Baburnama reflects the love and fondness that Babur had as 
an outsider for the Indian land and ecology. With his fervour 
for detailed writing, Babur established a tradition of keeping 
memoirs, a practice which was followed by his successors 
in India. The books and albums that were produced in the 
royal ateliers were not only calligraphed but also painted. 
These books of value were preserved and passed on to 
members of the royal family or gifted to those perceived as 
deserving. Babur had a keen eye for portraiture and this is 
also recorded in his memoirs. Among the artists, who find 
mention in Babur’s memoirs is Bihzad. Bihzad’s work was 
Princes of the House of Timur, 
Abd us Samad, 
1545–50, British Museum, 
London
1_3.Mughal School Folder.indd   37 01 Sep 2020   02:16:00 PM
Rationalised 2023-24
38 An IntroductIon to IndIAn Art —PArt II
dainty but he did not draw the faces well; he used to greatly 
lengthen the double chin (ghab-ghab); and drew bearded 
faces admirably. Bihzad was a master artist from the Persian 
school of painting, Herat (now in present day Afghanistan), 
and was known for his sophisticated compositions and  
colour tints. Also, Shah Muzaffar finds a mention as a 
painter, who Babur thought excelled in the representation 
of hairstyle. Although Babur spent little time on the Indian 
soil and passed away soon after his arrival, his successors  
made the country their own and became a part of the 
Indian lineage.
Babur was succeeded by his son Humayun in 1530, who 
unfortunately fell prey to political unrest, and his life took 
many unexpected turns. Dethroned by an Afghan, Sher Khan 
(Sher Shah), Humayun took refuge in the court of the Safavid 
Persian ruler, Shah Tahmasp. Although inglorious for his 
political career, this was fortunate for the startling turn 
that the art of manuscript and painting under him took as a 
result of his stay in Safavid. It was during his exile in Shah 
Tahmasp’s court that Humanyun witnessed the magnificent 
artistic tradition of miniature paintings and manuscripts. He 
was thrilled to see the skillful artists in practice, creating 
splendid works of art for Shah Tahmasp. With the assistance 
of Shah Tahmasp, Humayun established his 
court in Kabul in 1545. Humayun increasingly 
identified himself with a political and cultural 
agenda for his dynastic empire that was 
eclectic and assimilative. Impressed by the 
artists and with an ambition to recreate such 
art workshops in India, Humayun brought 
back with him the master artists when he 
regained power in India. He invited two Persian 
artists — Mir Sayyid Ali and Abd us Samad 
to establish a studio in his court and carry 
out royal paintings. It is important to note 
here that both the artists were famous and 
respected particularly for their skills in the art 
of portraiture.
A bibliophile of discerning sensitivity, 
Humayun’s rule began a period of intense 
patronage for the art of painting and 
calligraphy. From his period, we get clear visual 
and textual documents that testify an active 
Tutinama: The Girl and 
the Parrot, 
1580–1585, Chester 
Beatty Library, Dublin
1_3.Mughal School Folder.indd   38 01 Sep 2020   02:16:00 PM
Rationalised 2023-24
Page 5


3
The Mughal School of Miniature Painting
M
ughal painting is the style of miniature painting that 
developed in the northern Indian subcontinent in the 
sixteenth century and continued till the mid–nineteenth 
century. It is known for its sophisticated techniques and 
diverse range of subjects and themes. The Mughal miniature 
painting inspired and resonated in subsequent schools and 
styles of Indian painting, thereby, confirming a definite 
position for the Mughal style within the Indian school of 
paintings. 
The Mughals were patrons of various art forms. Every 
Mughal successor, based on his taste and preferences, 
contributed towards enhancing the status of art, viz., 
calligraphy, painting, architecture, bookmaking, book 
illustration projects, etc. They took keen interest in artists’ 
ateliers and nurtured unprecedented new styles that 
heightened and accelerated the existing art scenario of 
India. Therefore, for understanding the Mughal Painting, the 
political history and genealogy of the Mughal dynasty is often 
taken into account. 
Influences on Mughal Painting
The Mughal style of miniature painting was responsible for 
the amalgamation of indigenous themes and styles along 
with Persian and later European themes and styles. The arts 
of this period reflect a synthesis of foreign influences and 
indigenous flavour. The peak of Mughal painting presented a 
highly sophisticated blend of the Islamic, Hindu and European 
visual culture and aesthetics. Given this diverse yet inclusive 
nature, the affluence of the artworks produced in India during 
this period surpasses the conventional and indigenous 
Indian and Iranian painting of that time. The significance of 
this style lies in the purpose and efforts of its patrons and 
the unmatched skill of its artists. Together, they envisaged 
and expressed a congregation of tastes, philosophies and 
faiths by their extraordinary visual language.
1_3.Mughal School Folder.indd   35 01 Sep 2020   02:15:59 PM
Rationalised 2023-24
36 An IntroductIon to IndIAn Art —PArt II
In the Mughal courts, arts became more formalised as 
there were workshops and many artists were brought from 
Iran, which resulted in a harmonious blend of Indo-Iranian 
styles, especially during its early years. This celebrated 
eminence in Mughal art was possible only due to its distinctive 
character of assimilating and engaging artists of both Indian 
and Iranian origins, who contributed towards making, and 
further elevating the artistic paradigm of the Mughal style. 
The Mughal atelier consisted of calligraphers, painters, gilders 
and binders. Paintings recorded and documented significant 
events, personalities and interests of the emperors. These were 
meant to be seen by the royals only. The paintings were made 
to suit the sensitivity of the royals or often made as intellectual 
stimulation. The paintings were a part of manuscripts 
and albums.
The tradition of art and painting had rich historical roots 
in India about which we have already learned in the previous 
chapters. The celebrated Mughal idiom that developed on 
the Indian soil should be understood as a consequence of 
interaction of various schools, including the pre–Mughal 
and contemporaneous art schools of India and Persia. Thus, 
the Mughal style did not grow in vacuum. It was nurtured 
by direct interaction with other art forms and schools that 
already existed. The indigenous Indian and Mughal painting 
styles coexisted, assimilated the influences and various 
native talents in different ways.
The pre–Mughal and parallel indigenous schools of paintings 
in India had their strong distinct style, aesthetics and 
purpose. The indigenous Indian style emphasised on flat 
perspective, strong use of lines, vivid colour palette, and bold 
modelling of figures and architecture. The Mughal style offered 
subtlety and finesse, portrayed almost three-dimensional 
figures and created optical reality. The royal court scenes, 
portraits, depiction of accurate flora and fauna were some of 
the favourite themes of the Mughal artists. Thus, the Mughal 
painting ushered in a new style and sophistication to the 
Indian arts of that time.
The Mughal patrons contributed to the proliferation 
of the Mughal style of painting with their distinct artistic 
preferences, choice of subjects, philosophies and aesthetic 
sensibilities. In the following segment of this chapter, we shall 
learn about the development of Mughal miniature painting in 
chronological order. 
1_3.Mughal School Folder.indd   36 01 Sep 2020   02:15:59 PM
Rationalised 2023-24
t he MughAl School of MInIAture PAIntIng 37
Early Mughal Painting
In 1526, Babur, the first Mughal emperor, came from present 
day Uzbekistan and was a descendent of Emperor Timur 
and Chatghtai Turk. With this, he blended the cultural 
background and aesthetic sensibilities of Persia and Central 
Asia. Babur had a dynamic taste for a variety of arts. He 
is reputed to be a man of letters and a keen patron of art, 
manuscripts, architecture, gardening, etc. Babur’s detailed 
accounts in Baburnama, his autobiography, are narratives 
of the emperor’s political carrier and artistic passion. 
Baburnama reflects the love and fondness that Babur had as 
an outsider for the Indian land and ecology. With his fervour 
for detailed writing, Babur established a tradition of keeping 
memoirs, a practice which was followed by his successors 
in India. The books and albums that were produced in the 
royal ateliers were not only calligraphed but also painted. 
These books of value were preserved and passed on to 
members of the royal family or gifted to those perceived as 
deserving. Babur had a keen eye for portraiture and this is 
also recorded in his memoirs. Among the artists, who find 
mention in Babur’s memoirs is Bihzad. Bihzad’s work was 
Princes of the House of Timur, 
Abd us Samad, 
1545–50, British Museum, 
London
1_3.Mughal School Folder.indd   37 01 Sep 2020   02:16:00 PM
Rationalised 2023-24
38 An IntroductIon to IndIAn Art —PArt II
dainty but he did not draw the faces well; he used to greatly 
lengthen the double chin (ghab-ghab); and drew bearded 
faces admirably. Bihzad was a master artist from the Persian 
school of painting, Herat (now in present day Afghanistan), 
and was known for his sophisticated compositions and  
colour tints. Also, Shah Muzaffar finds a mention as a 
painter, who Babur thought excelled in the representation 
of hairstyle. Although Babur spent little time on the Indian 
soil and passed away soon after his arrival, his successors  
made the country their own and became a part of the 
Indian lineage.
Babur was succeeded by his son Humayun in 1530, who 
unfortunately fell prey to political unrest, and his life took 
many unexpected turns. Dethroned by an Afghan, Sher Khan 
(Sher Shah), Humayun took refuge in the court of the Safavid 
Persian ruler, Shah Tahmasp. Although inglorious for his 
political career, this was fortunate for the startling turn 
that the art of manuscript and painting under him took as a 
result of his stay in Safavid. It was during his exile in Shah 
Tahmasp’s court that Humanyun witnessed the magnificent 
artistic tradition of miniature paintings and manuscripts. He 
was thrilled to see the skillful artists in practice, creating 
splendid works of art for Shah Tahmasp. With the assistance 
of Shah Tahmasp, Humayun established his 
court in Kabul in 1545. Humayun increasingly 
identified himself with a political and cultural 
agenda for his dynastic empire that was 
eclectic and assimilative. Impressed by the 
artists and with an ambition to recreate such 
art workshops in India, Humayun brought 
back with him the master artists when he 
regained power in India. He invited two Persian 
artists — Mir Sayyid Ali and Abd us Samad 
to establish a studio in his court and carry 
out royal paintings. It is important to note 
here that both the artists were famous and 
respected particularly for their skills in the art 
of portraiture.
A bibliophile of discerning sensitivity, 
Humayun’s rule began a period of intense 
patronage for the art of painting and 
calligraphy. From his period, we get clear visual 
and textual documents that testify an active 
Tutinama: The Girl and 
the Parrot, 
1580–1585, Chester 
Beatty Library, Dublin
1_3.Mughal School Folder.indd   38 01 Sep 2020   02:16:00 PM
Rationalised 2023-24
t he MughAl School of MInIAture PAIntIng 39
interest in building an artistic repertoire and an imperial 
atelier. This is an indication of Humayun’s artistic taste and 
helps us form a picture of Humayun as a connoisseur and an 
aesthete. He founded the Nigaar Khana (painting workshop), 
which was also a part of his library. Not much is known 
about the size and composition of Humayun’s workshop in 
India. However, it is known that he started the project of 
illustration of Hamza Nama that was continued by his son 
and successor Akbar.
When we look at an extraordinary Mughal painting from 
the early period, Princes of the House of Timur (1545–50), 
probably by Safavid artist, Abd us Samad, in opaque 
watercolour on cotton, we are surprised by its size and 
complex structure and display of historical portraits. A 
prized possession of the imperial family, it has portraits 
that were painted over the original to register the portraits 
of successive members of the Mughal dynasty. So, visible in 
their physical likeness are portraits of Akbar, Jahangir and 
Shah Jahan painted subsequently over those painted during 
the reign of Humayun.
Open air painting with trees and blossoms, 
and royal merrymaking, which depicts the 
ancestral members of the Mughal dynasty were 
followed after Humayun, who was the patron of 
this kind of artwork. The format, theme, figures 
and colour palette are remarkably Persian. There 
is indeed at this point we may state that there 
is no particular dominant element having Indian 
inspiration. But soon, this vocabulary changes to 
accommodate the growing and peculiar Mughal 
sensibility and distinct imperial taste.
The tradition and fascination for painting 
started by Humayun was carried forward by 
his illustrious son Akbar (1556–1605). Abul 
Fazal, the court historian of Akbar, writes about 
Akbar’s passion for arts. He records that more 
than a hundred artists were employed in the 
royal atelier. This included the most skilled 
Persian and indigenous Indian artists of that 
time. This integrated composition of Indo-Persian 
artists led to the development of a unique style 
in this period. These artists together undertook 
ambitious projects that established new artistic 
Babur inspecting the fort of 
Gwalior, Bhure, Baburnama, 
1598, National Museum, 
New Delhi
1_3.Mughal School Folder.indd   39 01 Sep 2020   02:16:00 PM
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