Table of Content
- Pala and Apabhramsha schools of miniature painting
- Transition of miniature paintings
- Delhi Sultanate
- Mughal era miniature paintings
- Babur
- Humayun
- Akbar
- Jehangir
- Shah Jahan
- Aurangzeb
Miniature paintings are small paintings with minute details, done on perishable material like paper, cloth, palm leaf, as a part of books, manuscripts, albums, etc.
Pala and Apabhramsha schools of miniature painting
Miniature paintings in India developed with the advent of the Apabhramsha and Pala school of art. The Pala school was the earliest school of miniature paintings in India. It was executed under the Palas of Bengal in East India, around the 8th to 12th century CE. This school majorly produced Buddhist paintings, and was characterised by sinuous lines and subdued tones of color. They had a naturalistic style and resembled the ideal forms of contemporary forms of stone sculptures. They were made on palm leaves and paper, as lonely single paintings, and were rarely found in groups, except in manuscripts. They were simple compositions, and were sometimes patronised by rulers for Buddhism, especially the Vajrayana sect. Dhiman and Vittatala were some famous painters of this school.
White Tara, Folio from a dispersed Ashtasahasrika Prajnaparamita
Apabhramsha was the western counterpart of the Pala school, especially in Rajasthan and Gujarat. This school had two phases - illustrations made on palm leaves (1100- 1400 CE) and later made on paper. The motivating factor for this entire activity was Jainism in Western India. Jainism and Vaishnavism brought in the concept of love with the Geetagovindam. These paintings were made as illustrations in books. They did not develop a different style, they were like mural paintings, but in a reduced dimension. The colors they used had symbolic meanings. The most used colors were red, yellow and ochre. In the later phases, brighter colors such as indigo were also used, along with the use of gold. Unique features of the school include fish shaped bulging eyes, pointed nose and double chin.They tried to make use of the angular faces and third and fourth profile. The figures became stiff in appearance and ornamentation was carefully done. The figures had enlarged hips and breasts. Animals were represented as toys.
Transition of miniature paintings
The coming of Muslims led to a cultural renaissance during the 14th century CE. It led to the cultural synthesis of court paintings. For example, the southern styles of Vijaynagara merged with new styles, which were closer to Deccan style. Colours were applied in a flat manner. The dress and human outlines were demarcated in black. The visible part of the face was only three-fourths, and it gave the figure a detached appearance. The background was covered with trees, mountains, etc. Yet it did not try to replicate the natural appearance of the subject.
Delhi Sultanate
The Indo-Persian styles of paintings came from Iran and merged with the Jain style of paintings in India. Around 1450 to 1550 CE there were many centres of production of these paintings, including Mandu (Central India), Jaunpur (East India), Sambal (South India) and Gujarat (West India). These paintings are based on Indian traditions. They included groups of people standing together in rows and identical poses, with narrow bands of decoration running across the width of paintings. Bright and unusual colours were used. Nimatnama, a recipe book, was a manuscript which was painted in Mandu during this time.
Delhi Sultanate
Green colour was popularly used along with pastel background colours and Persian figure styles, while the pictures were heavily Indian. This was the precedent and gave a platform for the development of Mughal, Rajput and Deccan styles of art.
Mughal era miniature paintings
The Mughals infused their own style of paintings, starting with Babur, the founder of the dynasty, with Persian influence that came in after Humayun’s exile to Persia, and his subsequent return with Persian artists after his victory over the throne. Over time, the Mughals developed their own unique elements under each ruler - Akbar, Jehangir and Shah Jahan, until Aurangzeb refused to patronize the arts. The paintings showed court scenes to depict grandeur. Backgrounds like hilly landscapes, flowers and animals were vastly depicted.
A Joyful Peacock in Miniature Painting by Mohan Prajapati
The focus changed from depicting God to glorifying the ruler. The painting theme focused on their life hunting scenes, historical scenes and stories related to the court. Mughal paintings are characterised by their subtleness and materialism. They are considered unique because of the use of natural colours. They brought in the technique of foreshortening in Indian paintings. Foreshortening refers to the technique of portraying the image closer, but smaller than they really are.
Royal Mughal Darbar Paper Mache Vase by Riyaz Khan
Babur
Early Mughal paintings were patronised by Babur who established the Mughal dynasty. Bhiza was a Persian artist during his reign, who made a very good illustration of the Mughal family tree and wrote the Babur Nama.
Humayun
Humayun was a great patron of art and encouraged both paintings and beautiful monuments. He lost his throne to Sher Shah Suri and was exiled to Persia. When he was at the court of Shah Tehmas, he acquired the services of two main painters - Abdus Samad and Mir Sayyid Ali, and brought them back to India with him. After getting his throne, he patronised many successful albums, the most popular being the Khamsa of Nizami, which was an illustrated manuscript of the Khamsa or "five poems" of Nizami Ganjavi, a 12th-century Persian poet.
A miniature painting by Abdus Samad during Humayun’s reign
(Source - https://s01.sgp1.cdn.digitaloceanspaces.com/inline/xnmhkayofn-1624672335.jpg)
Akbar
Akbar's responsibility for the establishment of her entire department devoted to painting and scribing, called Tasvir Khanat, where artists developed their own works and were given salaries. He viewed art as a means of study as well as amusement, and believed that painting should show the demeanour of the subject. He awarded the artists and painters regularly. During his reign, Indian influence started in the Mughal paintings. Three dimensional figures and four shortening were techniques that were in continuous use. Artists were also encouraged to use calligraphy. This was the period of the transformation of popular art to court art. Many popular painters and illustration works of the Mughal period belong to his reign.
The Delight of Fruits in Miniature Painting by Mohan Prajapati
An Alluring Peacock in Miniature Painting by Mohan Prajapati
A Brilliant Kingfisher in Miniature Painting by Mohan Prajapati
Jehangir
During his reign, Mughal paintings became more naturalistic. The element of flora and fauna animals and birds came in. There is even a painting of a dodo that dates back to his reign. He patronised different paintings, from illustrated manuscripts to albums, and focused on bringing naturalism. The unique features of Mughal miniature art during his reign was the decoration of the margins around the paintings, called naqashi or hashiya. Jehangir himself was considered as a good artist and had his private workshop. But unfortunately, no work by him survives. It was believed that he could identify the artist by the brushstrokes on a painting, which enhanced his reputation as a knowledgeable patron of art. There are many famous paintings that are ascribed to his reign, which include the painting of a zebra,turkey, cock, etc. Ustad Mansur, an artist in his court, was an expert in drawing the features of complex faces.
Kangaroo In Mughal by Baaya
Azure Plumage, Emerald Flight: A Mughal Miniature of Hummingbirds by Mohan Prajapati
A Charming Parrot in Miniature Painting by Mohan Prajapati
Shah Jahan
He brought about rapid changes to Mughal miniature art. He liked more artificial elements and not naturalism. He tried to reduce the liveliness of the painting and to bring in unlikely stillness. The use of charcoal began, and he encouraged the use of pencil by the artist for drawing and sketching. This period saw the use of more gold and silver and brighter colour palette as compared to the predecessors. He was a romantic in temperament, and did not like violence and ugliness. Thus, the themes mainly portrayed in the paintings during his reign included Darbar scenes, processions, festivals,
The Royal Affairs in Miniature Painting by Mohan Prajapati
The Royal Escort in Miniature Painting by Mohan Prajapati
King and Queen on their royal elephants in Mughal miniature by Mohan Prajapati
Aurangzeb
During Aurangzeb's reign, Mughal paintings were not encouraged, unlike the times of the previous rulers . This led to loss of patronage to the painters of the court, forcing them to move out to Rajasthan and other places, and carrying the Mughal style with them, which led to amalgamation with local cultures. This led to provincial Mughal Art, which flourished in Awadh, which was the foremost seat of the school. Many artists migrated to the Rajputana region, where new styles of Rajasthani and Pahari paintings evolved, blending the local traditions with Mughal styles.
Thus, we can see that miniature painting in India is a testament to the country’s cultural diversity and artistic evolutions. From the early beginnings in the Pala and Apabhramsha schools, being more religious in nature, to the transition to the art of the Mughal courts, characterized by materialism and secularism, these paintings reflect the changing scenarios in India’s history, religion, politics, literature, and aesthetic values across centuries. Each phase contributed its https://www.memeraki.com/blogs/posts/mughal-miniatures?srsltid=AfmBOorIWD42C7AOnGDKzq8T2yGz9Ogg7Ca67K2dNDJTx96wr1YUGtnhunique styles, techniques, and themes to this genre. Even as patronage waned, the legacy of miniature painting endured, influencing regional styles like Rajput, Pahari, and Deccan schools, ensuring the continuity of the artform and its relevance through centuries.
To read more on this topic, refer to our other blogs -
References:
- Beach, Milo Cleveland. Rajput Painting at Bundi and Kota. Museum Rietberg, Zurich, 1987.
- Goswamy, B. N. Pahari Masters: Court Painters of Northern India. Zurich: Artibus Asiae Publishers, 1999.
- Losty, J. P. The Art of the Book in India. London: The British Library, 1982.
- Verma, S. P. Mughal Painters and Their Work: A Biographical Survey and Comprehensive Catalogue. New Delhi: Oxford University Press, 2005.
- Wright, E. Mughal Miniatures. British Museum Press, 2008.
