Mughal School of Art

Humayun's period (1530-1556)

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Own style of Mughal emperors was introduced where Persian inspirations and new themes, colors, and forms were used in their painting. Usually, the background was of hilly landscapes and Court scenes were depicted in grandeur. The Indian artists applied their skills to develop Persian ideas. the subtleness and naturalism were how The Mughal paintings were characterized. Mir Sayyid Ali and Abdus Samad were the two great artists in the court of Humayun (1530-1556 AD). And they also remained active during Akbar's reign.

Akbar's period (1556-1605)

Image source:-en.wikipedia.org/wiki/Razmnama

Akbar (1556-1605 AD) was keenly interested in the art of painting and architecture as well as sculpture and can also be considered as the real founder of Mughal painting. Akbar had a broad vision. Akbar had employed more than a hundred painters from different parts of the country and lavishly conferred honors on works of great excellence. The Hindu artists whose work he used to admire were, notably Daswanth and Basawan. Mughal painting was a work in which numerous artists and craftsmen participated. illustrated stories of Hamza Nama; illustrated Mahabharata called Razm-Nama and the illustrated Ramayana and Timur Nama, Babur Nama and Akbar-Nama were the Several noteworthy works that were completed during Akbar's period, The Razm-Nama was completed in 1589 AD and contained 169 paintings. 

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The paintings of the Akbar-Nama are unsurpassed for their meticulous finish, their bold execution, and their use of color. By the early 17th century, the Mughal painting was influenced by the western culture and Akbar’s leading court artists – Kesu Das, Manohar, Basawan, and Kesu Khurd—were fascinated by the fusion; use of light and shade to capture space and volume, aerial perspective and atmospheric effects to indicate spatial recession and started integrating these themes in their compositions, which profoundly influenced the Mughal art and constituted one of the most flourishing of artistic exchanges. A few of the masterpieces of that period are Basawan’s Madonna and child Manohar’s Christ Salvator Mundi.

 

Jahangir's period. (1605-1627)

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Jahangir (1605 – 1627 AD), son of Akbar was the most enthusiastic patron of the Mughal painting and was a great lover of art and nature. The beauty of nature in the form of plants, animals, and birds became an important subject of the Mughal paintings during Jahangir’s time; As a result, several paintings were painted of birds, flowers, and animals in his time. Calligraphy which was considered to be the foremost artist in the Islamic world was promoted by Jahangir. Portrait painting also came into vogue during this period and attained heights of refinement. Ustad Mansoor (bird’s painter), Abul Hassan (Animal and portrait painter), and Bishandas were some of the great painters in the court of Jahangir. Jahangir has bestowed the title of Nadir-ul[1]Asr on Mansur.

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During this period, the influence of western painting on the Mughal painters became more pronounced. Jahangir’s reign was a period during which Indian, Persian and European elements underwent a fusion and emerged into a distinct and novel style. The portrait of Jahangir illustrated is a typical example of miniatures executed during the period of Jahangir. It shows Jahangir holding a picture of the Virgin Mary in his right hand; this miniature is in the collection of the national museum, New Delhi. After the death of Jahangir, Shah Jahan became the emperor of the Mughal Empire in 1626.

Shahjahan's period (1628-1658)

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In this period Painting achieved a replacement delicacy and romantic flavor during the reign of Shah-Jahan. Themes including musical parties; lovers, sometimes in intimate positions, on terraces and gardens; and ascetics gathered around a fireplace, were seen in the Mughal paintings of this era. In several paintings, the fight of elephants and men controlling mast elephants with fireworks and spears are also shown. Another common theme with the Mughal artists from the half-moon of the 17th century and early 18th century is that of a girl standing under a willow holding a branch. Art created under Shahjahan's rule was mainly focused on the emperor, aided In establishing his authority so the artist during this time was expected to adhere to representing life in court as organized and unified. The purpose of this art was to leave behind an image of what the Mughal's believed to be the ideal ruler and state.

Paintings under Aurangzeb and other Mughal Rulers

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Aurangzeb was never a painting enthusiast, largely for religious reasons, and his indifference to painting compelled mainly a great artist to shift their bases to other kingdoms in Punjab, Rajasthan, and other parts of the country, precipitating a decline in the Mughal painting. Bahadur Shah (1707-1712 AD) tried to restore the court patronage of painting and produced the magnificent work, Shahjahan-nama, during his period. Farruksiyar (1713- 1718 AD) continued the royal patronage of painting and so did Muhammad Shah Rangila (1719-1748 AD). The Mughal painting gradually went into oblivion when the invasion of Nadir Shah in 1739 AD, the en masse exodus of artists from Delhi began. 

Reference-

laqueerblog.wordpress.com/mughal-school/

en.wikipedia.org/wiki/Mughal_painting#:~:text=There%20are%20a%20number%20of,Hindu%20princely%20courts%20across%20India.