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The History of Indian Mughal Miniature Painting

Part -4

 The first emperor, Babur, was an avid naturalist with a keen interest in flowers, fruits, leaves, creepers, birds, animals and insects. His diary is replete with detailed observations of these subjects. Emperor Jahangir inherited this passion from his predecessor and during his reign commissioned numerous paintings depicting the animal kingdom and trees. Historians have documented some paintings that depict royal hunting events where animals are portrayed with great accuracy and wildness. Emperor Jahangir had a particular fascination for rare flowers or animals sourced from distant lands that were captured through arduous effort; many of which remain on display today as patronage pieces in several locations. A voluminous album featuring depictions of various animals and birds was created by the artists at the royal court who spared no effort to please their emperor.

 

turkey_hen_mughal_painting_mansur
Turkey hen by Mansur.

The best Mughal miniature painting in the animal category was a bird. It's worth appreciating the artist who made this beautiful portrait of a bird with great color, composition, and undoubtable accuracy. As far as I know, it was by the artist named Mansur. The Emperor Jahangir officially stamped the painting. In his diary, Jahangir wrote about this artwork. Here, I am trying to translate it from Tuzuk e-Jahangiri. It was the time when Jahangir had been running for seven years of his throne. At that time, he sent Maqbara Khan to Goa as his envoy.  Maqbara Khan bought a few rare animals for the Emperor while he was returning.

 

With immense happiness, Jahangir wrote, 'A few of those animals I have never seen yet. I got curious. Emperor Babur described some rare animals in his autobiography but didn't order to portray those animals. But I have done. Animals represented here are so rare and beautiful that I wrote a good description of them and ordered them to be portrayed for the novel Jahangirnama. I guess readers will be astonished more to see the images than to read the description of those animals. One of those looked like a peahen; however, it was bigger than a peahen but shorter than a peacock. The beak and legs of the bird are similar to common roosters; however, the colors of the head, neck, and throat are astonishingly changed periodically! On that bird's head is a fleshy piece that looks like a cockscomb. But the funny fact is, when it becomes excited, the fleshy piece grows bigger and hangs like an elephant's trunk. Later, it becomes normal. The color around the eyes is always blue, and it stays unchanged. But the color of its feathers changes periodically'.

 

The preposterous reality is that the fowl in question was of Turkish origin, and referred to as Hind-Tougi in the local vernacular. Jahangir's initial encounter with this creature left him feeling quite elated.

Mansur purportedly captured another masterpiece, currently housed in the Calcutta Museum - a stunning portrait of the Bengal florican. This avian species is known to frequent my local vicinity. The painting bears Jahangir's calligraphy inscribed in Persian, reading: "Behold zurz-e-bur, skillfully crafted by Mansur, one of my reign's most esteemed artisans. Attested by Jahangir Akbar Shah in 1624." Regrettably, I have been unable to locate any digital reproductions of this particular artwork online.

crane_painting_mughal_miniature_painter_s_blog
Crane painting.

 

The third artwork presented is a portrait of a crane, which holds an esteemed position within the genre of bird painting in Japan. Its feathers are meticulously depicted through delicate and precise brushwork, demonstrating the artist's profound knowledge of avian anatomy. The piece embodies both artistic intuition and scientific rigour, with evident restraint and patience applied throughout its creation. Notably, despite its intricate detailing, the portrait seamlessly integrates into the overall composition of the painting. To view this exquisite work in greater detail, please click on the image located on the right-hand side of this page. 

 

One of the most notable aspects of Mughal painting is the exquisite ornamental design adorning its edges. This intricate decoration, which conveys a refined sense of taste, artistry, and erudition, often surpasses the beauty of the painting itself. The practice of embellishing both the frame and surrounding area with elaborate designs reached its pinnacle during Jahangir's reign. A similar aesthetic sensibility can be observed in Islamic architecture as well; for instance, consider the Taj Mahal whose porch arch features Urdu calligraphy. However, while both arts share this decorative inclination, it is in painting that such an approach truly shines. Floral and creeper motifs rendered with delicate color accents imbue a gentle softness to these frames while their cleverly chosen hues harmonize perfectly with those featured in the main work - testaments to artistic finesse at its finest!

 

Additionally, I am of the opinion that it has been conclusively demonstrated that all designs are simply conventionalized and lack the innovative spark required to create something truly exceptional. What is your perspective on this matter? Please share your thoughts below as I value your input. 

 

 

Will continue in next episode.

 

  [The article is subject to copyright act. If you want to use any part of this article, please contact the author for permission]

 

[Image resource - Public Domain]

 

 

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