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Unit – II

The Mughal and Deccan School’s of Miniature painting

Chapter – 4 Mughal school of miniature painting

Chapter – 5 Deccan school of miniature painting

(16 century A.D. to 19th Century A.D.)

Chapter – 4

Mughal school of miniature painting

The Origin and development of the Mughal School of Miniature painting.

The source of Mugal art was Parsia. Mughal Art is a mixture of Indian Art (Rajasthani Art) and
persian Art. This mixture resulted in a great and noble art known as Mughal Art. Mughal rules of
Timur dynasty in Bukhara and Samarkand encouraged the Mughal Art and the Mugal Art
originated through timur dynasty. Timur respected his artists very much. The best artist during
that time was „Bihzad who was considered as the „Rapped of the East‟.

The founder of the Mughal Empire in India was Babur. He belonged to the Timur
dynasty. He had a great interest in painting. After his death, his son Humayan was mostly
engaged in battles. But the painting of „Dastan – E- Amir – Hamza‟ was done during his rule. His
famous artists were Meer Saiyad Ali (of Tabrez) and Khawaja Abdussamad both from Bihzad
school of Art. After his death, Akbar, the only son of Humayun rule the throne. He was very much
interested in painting, Sculpture and Architecture, His period was known as the Golden period of
Mughal Art. He recruited many Indian artists throughout India. During his successor Jahangir‟s
Period, Art reached its peak. During next Mughal emperor Shahjahan‟s rule, so many forts,
palaces etc. Got constructed as he was a great lover of architecture. His Successor Aurangzeb
was a great ruler. He hated painting and music. So deuline of Mughal Empire look place.

Under late Mughal Emperors like Bahadur Shah, Mughal Empire declined totally
inspire of his efforts. So Mughal Art originated with Mughals and declined with Mughals. Main
features of the Mughal School Miniature painting:

1. Historical Scenes : During Akbar‟s rule, Maximum number of historical scenes were painted
e.g. illustration of the manuscript related to historical scene namely “Kissa – Amir – Hamza”.
Mostly historical scenes were painted during Mughal School.

2. Linear Beauty : When we look at the portraits of Mughal Style, we become familiar with the
importance of beautiful thin and thick fine lines the lines are so fine that even the minutest
details are clearly visible.

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3. Border Decoration : All the Mughal painting are decorated with Forders which are
ornamented in some paintings, the borders dominate the painting.

4. Profile face : – Profile faces in the main feature of the Mughal style. Whether the figures are
frontal or inside pose, the faces are always in profile.

5. Garments : The female figures are shown wearing transparent opines, while the male figures
are shown wearing Angrakhas and curlier pajamas along with decorative turbans, Ornamental
decoration is seen in the garments.

6. Religions Thomes : – Depiction of religious themes like the Ramayana, the Mahabharata,
The Nala Damyanti theme and panchtantra stories is there in the painting.

7. Depiction of Nature : – Nature has been depicted so beautifully that even each leaf has
been painted separately, tress, plants, leaves, rivers, mountains etc. have been depicted
gracefully

8. Colour Scheme : Mostly natural colours have been beautifully used. Earlier paintings had flat
colours, but later on, leph with the help of shading was shown. Golden and silver colours
were mostly used in painting borders were painted in golden colour.

9. Calligraphy : – Calligraphy was alone in black colour in most of paintings. Artists wrote their
names beautifully also.

10. Depiction of Animals and birds : – Ustal Monsoor was the main bird painting „Falcon on a
Bird – Rest‟ is one of his best painting. Animals and birds were depicted beautifully in Mughal
painting. Camel fights, elephant fights etc. were depicted beautifully. Other animals like
goats, horses, tigers, Lions etc. were also depicted gracefully.

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Krishna lifting Mount Goverdhana

Artist – Miskin Period – Akbar Circal 1585 – 90

The Painting „Krishna lifting the mount Govardhan‟ is an escpuisite piece from Akbar‟s earlier. It‟s
shows Krishna holding the mount Goverdhans on his little finger. The mountain has been made
to appear realistic by painting massive rocks, large trees and innumerable animals like deers and
monkeys. shrubs and grassy pastures are painted between rocky ridges.

We can appreciate any Mughal miniature painting because all Mughal paintings have different
qualities. Following is its detail based on following points.

a) Title sub – school and name of Artist : – The painting titled „Krishna lifting mount Goverdhan‟
has been painted by the artist‟ Miskin‟. It belongs to the sub – school of Akbar as it was
painted during Akbar‟s time. Miskin was a famous Artist. The title matches the subject of the
painting.

b) Subject Matter : – The subject matter of the painting matches the title which is – Krishna has
been shown lifting mount Goverdhana on his little finger of left hand. On viewing the
painting, the theme seems to be dare and justified.

c) Media and Technique : – The Medium used in this paining Tempera (Water colour) on
paper.
The artists of Mughal School had full knowledge of Persian, Trani and Indian techniques.
These techniques are known as „Irani kalm‟ and „Delhi Kalm‟ Mughal School was Indo –
Persian in technique.
Mughal Art is the mixture of Indian (Rajasthani Art) Art and Persian Art. Persian Art is 2 –
dimensional and Rajasthani Art is 3 – dimensional. IN Persian technique, bold lines,
rectangular frame, light and shade etc. are there.

d) Composition : – It is a vertical composition with crowded scene. Krishna has been shown
lifting the mount Govardhana on his little finger of left hand. A huge multi coloured
mountain has been shown on which deer, Monkeys, trees, grass. etc. has been depicted
beautifully. All the people of Brij are getting shelter under the mountain along with their
cattle as heavy rain is falling sky has been shown twice, once on the top of the mountain and
secondly under the mountain. Lord Krishna is wearing deep yellow pitamber and a large
garland of white flowers. He is shown a relaxed posture inspire of lifting huge mountain
effortlessly on the right side of Krishna a bright green coloured tree has been shown. Most of
the figures has been shown in one and half Chashm. The artist has handled crowded seen
gracefully and carefully.

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Falcon on a bird Rest

Artist – Ustad Monsoor, Jahnagir school Circe – 1618–19

In his famous painting, „Falcon on a bird – Rest‟, Mansoor has painted a tamed falcon
resting on a cushioned bird – rest. The falconis painted in a great realistic manner with a
refinement of delimits. The bird is painted in white against the yellow background which is
contrasted with the brownish – Black feathers of its foled wings. An isolated figure of the
falcon shown on its perch in rigid profile is centrally positioned in the composition. “Black
marking all over the wings suggest that it is in the likeness of the pet – falcon of Jahangir.

“Kabir and Raidas”

Artist : – Ustad Faquirullah Khan, Shahjahan School Circa – 1640
The subject matter of the Mughal painting „Kabir and Raidas‟ depicts two saints namely saint
Kabir and saint Raidas who are meditating on a same religious topic. It is a horizontal painting
saint kabir is weaving garment on his loom and is in a meditation mood. Saint Raidas is also
sitting near him and he is also in a mediating mood. The painting depicts Indian village life
where peace and simpliction have been shown, Brown and light blue colours have been used
while the borders have shades of light brown colour. This painting belongs to the time period
during the rule of Dara Shikoh (Son of Shahjahan). The another theme depicted in this painting is
„Respect of all religions as Dara Shikoh being a Muslim has shown Hindu saints in this painting.
In other paintings made during his time also : Both Hindu and Muslim saints have been treated
equally.
so, after viewing the painting one feels that the subject matter is justified and the
painter Ustad Faquirulah Khan is successful in depicting the subject matter.
Marriage Procession of Dara Shikoh
Artist : – Haji Madni, Provincial Mugha (avadh) Circa – 1740 – 50
“The Marriage Processing on Dara Shikoh” is a large painting alone on paper in
tempera medium. It‟s a picture of the wedding procession of Dara Shikoh. The heir apparent of
the Delhi Masnad. The „Barat‟ is received by a large gathering of men, women and young boys of
bride‟s party. There are lights of fire – works, candle and torches illuminating the whole scene
with brilliant light and showing the clapping and singing crowd of the bride‟s relatives: Most of
the distinguished people of the „Barat‟ are on horseback including Emperor Shahjahan himself
who has a halo round his head. Prince Dara shikoh is leading the procession himself. He is
wearing a brocaded angrakha and Veil of pearls.
It is a vertical composition in which the marriage procession of Darashikoh
has been depicted brilliantly. All the figures (Darashika on horse following by his father and
following by three attenlants, the baratis – Some on horse and some on foot, the men and
women receiving barat etc.) have been arranged symmetrically. Depiction of various types of
fireworks is there in the background.

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Unit – 2
Chapter – 5
Deccan of Miniature Painting
The origin and development of Deccan school of Miniature painting:
The Deccan (Dakhni) School of Miniature painting had its beginning in 1560
A.D. when Mughal school had its existence, The Deccani school was already in existence. When
the Mughal Emperor Aurangzeb threw out the Mughal artists from Mughal empire, Several
artists migrated to Deccan and sought patronage there. The Mughal influence entered Deccan
the early centres of painting in Deccan (16th and 17th centuries) were Ahmednagar, Bijapur and
Goleondo. In the beginning the Mughal style started developing in Deccan, but later in the 17th
and 18th centuries, Mughal influence on Deccani paintings increased a lot.
So the Deccani paintings developed and flourished in Ahmednagar, Bijapur
and Golconda and also in other centres of Deccan like Hyderabad and Tanjore. A surprising large
portion of the Surviving masterpieces of Indian painting was produced for the masterpieces of
Indian painting was produced for the mysterious sultans who ruled the Deccan:
With a dramatic intensity typical of the Deccan, the artist has recorded the
vigorous poses and forward thrust of a moving crowed. Sometimes the Mughal artist for all his
familiarity with western painting represented a group of people and wars of densely packed
bodies.
Although little is known about the history or civilization of deccan, it has now
become clear that at least the kingdoms, Ahmednagar, Bijapur and Golconda produced paintings
of astonishing quality. By the mid it century. Deccani painting particularly of Golconda was rising
to dozzing new heights.
So the origin and development of Deccani (Dakhani) school of art has left a special
landmark in the history of Art.
The main features of the Deccani Miniature painting
1. Colour scheme : – Brilliant and beautiful colours have been used in Deccani paintings. They
are differentfrom the colours of Northern painting style. Golden colour has been used largely
in the paintings where architecture is shown and also in the costumes, Jewellery, utensils etc.
2. Persian influence – High horizon, lavish use of golden colour, the landscape. Golden sky,
some flowering plants and arabesques on the top of the thrones etc. all have persian
influence on them.
3. Mughal influence : – In the later phase (17th and 13th century) of Deccani style, Mughal
influence was at its peak. Mughal influence was due to migration of severed Mughal painting
to the Deccan during downfall of Mughal School of painting.
4. Decorative painting: – Deccani painting were mostly decorative especially Hyderabad
paintings like the flowerbeds, costumes, rich and brilliant colour, facial features etc.
5. Bold drawing and shading techniques : – Bold drawing, shading techniques and use of rich,
pure and brilliant colours flourished at tanjore.

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Chand Bibi playing polo (chugan)

Artist : – Unknow Circa – 1750 A.D Sub. School – Golkonda
The Deccani painting „Chand Bibi playing pole‟ is a brilliant and beautiful painting. One can easily
appreciate it on the basis of following points:
i) Title : The title „Chand Bibi Playing Polo‟ matches the painting‟s theme.
ii) Name of the Artist / sub. school : The name of the artist is not known, but it is evident after
watching the painting that hear she might be a very talented artist. The painting belongs to
Gokonda School.
iii) Medium and Technique: The medium used in this painting is tempera (water colour) on
paper. In this technique and type of glue is mixed with coloured powder so as to make it
suitable for working on any surface the glue can be of any type fresh egg yolk can also be
used. After this mixture water is also added. In light the whole mixture dries quickly.
iv) Subject Matter : The subject matter of the paining is the entertainment of Chand bibi and
her companions‟ and for their entertainment, they have chosen the game „Polo‟ and the title
is according to it. So, the subject matter is justified because when we watch this painting, we
feel and understand the subject matter from our heart.
v) Composition : – Chand Bibi is playing Polo with her companions. Four horses are shown on
which four bodies – chand Bibi (sitting of white horse) and her three companions are sitting.
Eyes of all ladies are big and open while waist is triangular in shape. One lady is standing on
the foreground with her hands directing upwards. She is perhaps on attendant. A White ball
is also shown. A silvery grey lotus lake with aquatic birds has been shown in the foreground
and the horizon is reading. In the background huts, rocks, trees etc. are shown, Green, yellow
blue and brown colours are used. Being a miniature painting it seems as if it is a big size
painting. In the blue sky sun is also shown, so overall, it is a well balanced and beautiful
painting.

Hazrat Nizamuddin Auliya and Amir Khusro

Artist : Unknown (Circa – 1750 – 70 A.D.) Sub. School – Hyderabad
The Deccani paining „Hazrat Nizamuddin‟ and was painted during Circa 1750 – 10 A.D. The
courtesy of this Paintings is at National Museum, New Delhi. In the painting, Hazrat Nizamuddin
auliya and Amir Khurro have been shown sitting on an orange platform discussion on some
religious subject Amir khusro was the favourite companion of 12th Century A.D.

In the fore ground, Hazrat Nijamuddin is shown sitting on the right side and Amir
Khusro is sitting on the left side hiding a musical instrument. At the bottom, two small green
lawns with red flowers on both sides have been depicted. Hazrat Nizamuddin is shown wearing
olive green coloured dress which is the typical dress of a sufi Saint. Amir Khusro is wearing red
turban and red dress between both the figures same white eatable has been shown in a utensil

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