The Mughal Imperial Artist’s Identity Essay Example

during Akbar's reign, with specialized artists working on different aspects such as foundation drawing, background, figure work, and portraiture. Only master painters were allowed to do the outline drawing. The artists had no independent standing and were considered craftsmen among many others at that time. Given Akbar's fondness for ruling over large groups of people, it is not surprising that he commissioned multiple artists to work on a single piece.

While some of the court artists of Akbar are known by name, they were seldom acknowledged for their contributions to the work they helped produce. The emperor's liking, rather than the painter's, was more attributed to the style of each painting. Most paintings created during Akbar's reign portrayed the rapid pace of his courtly life as a conqueror. The emperor had a preference for vibrant colors, heightened commotion and activity, and turbulent movement in his paintings.

Akbar's dominance in the historical narrative of his paintings emphasizes his royalty. It is evident that Akbar's influence on paintings outweighed that of any individual artist. [4] A prime example of this style is depicted in Akbar Hunting in a Qamurgha at Palam near Delhi in 1568 or Folio 71 from Akbarnama, the Tales of Akbar (Figure1). The chaotic energy portrayed by Akbar's soldiers reflects the frenzy of the artists who collectively rendered the illustrations of Akbarnama, with each person potentially being painted by a different artist.

Visually, it is evident that several unnamed artists worked together on the painting (as depicted in Figure 2). The two men standing side by side are believed to belong to the same ethnicity and empire, which can be determined from their clothing and tasks. Nevertheless,

variations in style, including the intricate details and brushwork on their waistbands and shoes, as well as the shading on their legs, reflect the collaborative artistry commissioned by Akbar. Following Akbar's death, his only surviving son, Jahangir, ascended to the throne in 1605.

Despite Akbar being alive, Jahangir proved to be an unfaithful son as he rebelled against his father's rule in Agra. He escaped to Allahbad, distancing himself from the imperial court for four years. Eventually, when Jahangir attained power, he honored his father by constructing his mausoleum in Sikandra.

The Mughal Empire was highly secure and stable during Jahangir's time, allowing him to rule without much threat or competition until 1628. Upon the death of Akbar, Jahangir inherited not only a strong Empire but also his father's passion for art. This passion influenced Jahangir to become an art enthusiast himself. In fact, he described himself as a connoisseur, stating that his love for painting and ability to judge it had reached a point where he could identify the artist of a work at first glance. Even in his childhood under Akbar's rule, Jahangir gained significant knowledge about Mughal art and frequently visited the studios of court painters, observing the meticulous process of creating masterpieces. As he grew older, he became determined to have the most esteemed painters in his own court.

Mimicking his father, he engaged in weekly examinations of his imperial artists’ works, consistently challenging them and observing their progress. He had high standards for his court painters, but they were more than capable of pleasing him. Jahangir went on to greatly alter the dynasty’s artistic style, building upon the progress made during his father’s

rule. Jahangir’s introverted and reflective personality shaped his approach to commissioning art. The new emperor took pleasure in life’s simple joys, including excessive drinking and consumption of opium, which eventually led to his death in 1628. However, art, particularly painting, brought great stimulation and fulfillment to Jahangir, and today his reign is recognized for its exceptional support of the arts.

While his father lived the life of a conqueror, Jahangir led a life of ease and affluence, immersing himself in the arts. He possessed a deep sentimental nature and penned intimate and confessional memoirs about his life. His approach to commissioning art varied significantly from that of his father. Unlike Akbar, who sought to portray his might through paintings depicting him in empowering and militant scenarios.

Jahangir demonstrated his power and authority through the arts, particularly impressing others with paintings of exotic animals that his servants brought back from foreign lands. He also depicted scenes from the royal court and harem. These detailed animal portraits served both as symbols of prestige and as a means of educating the people. During a rebellion in Allahabad, local artists introduced the emperor to Persian styles and subjects, which piqued his interest. This style of painting was characterized by its delicacy, lyricism, and naturalism, and it became Jahangir's preferred method of commissioning artwork.

Jahangir significantly contributed to the recognition and appreciation of artists during his reign. Prior to his rule, artists were not given due credit for their creations. However, under Jahangir's patronage, individual artists began to be acknowledged and esteemed. Their talent and skills were recognized, and they were bestowed with rank and prestige. While still adhering to Jahangir's instructions, artists

were gradually allowed to express their unique styles. Among his preferred artists, such as Daulat, Abu'l Hasan, and Manosur, who were not just hired but considered close friends, the emperor entrusted them with most of his commissioned work.

[10] In 1608, a painting titled Portraits of Abu’l Hasan, Manohar, Bishandas, Govardhan, and Daulat, commissioned by Daulat, a Muslim artist, depicts himself and other imperial artists painting in a traditional Indian style. The scene reflects the ateliers Jahangir saw as a child in his father's court and inspired his love for the arts. By depicting himself and the artists he closely worked with, Jahangir gives them recognition and prominence in Mughal art. Jahangir prioritizes acknowledging the artists' identity rather than emphasizing his own statesmanship. Similarly, Jahangir's naturalistic portraits of exotic animals educate the public, and now he has educated the public about the artists behind the masterpieces.

During the reigns of Akbar and Jahangir, from 1556-1628, there is a clear progression in Mughal art. The successive emperors' increasing interest in the arts led to artists becoming even more skilled. Among them, Jahangir stressed the importance of individuality in artists, aiming to showcase their unique styles through their paintings. This shift from collaborative to individual efforts in painting execution resulted in artists gaining recognition and elevated status.

Akbar's influence allowed his son Jahangir to elevate the status and recognition of the arts. It wasn't until the end of Jahangir's reign in 1628 that imperial artists received the acknowledgement they deserved. [pic] Figure 1: Akbar Hunting in a Qamurgha at Palam near Delhi in 1568 or Folio 71 from Akbarnama, the Tales of Akbar (courtesy of ArtStor) [pic] Figure

2: Detail of two figures from Akbar Hunting in a Qamurgha at Palam near Delhi in 1568 or Folio 71 from Akbarnama, the Tales of Akbar (courtesy of ArtStor) [pic] Figure 3: Abu’l Hasan, Manohar, Bishandas, Govardhan, and Daulat by Daulat, 1608 (courtesey of Google Images) Biography Barrett, Douglas, and Basil Gray. Treasures of Asia:Indian Painting.

New York: Rizzoli International Publications, Inc., 1978. Brown, Rebecca M., and Deborah S.