Mughal+and+Rajput+Painting+16th-18th+Century

There are two different schools of painting: Akbar and Jahangir. The Akbar School denotes the school of art produced under the reign of the third Mughal ruler, Akbar the Great. Akbar, while known for his ruthlessness in warfare, was well regarded for his religious tolerance of non-Muslims. It is during Akbar's rule than Mughal painting begins to flourish. He established the Mughal School of painting, employing both Hindus and Muslims to work under the Persian masters his father, Humayun, brought to India. Much like the architecture of the Mughal Empire, the Mughal style of painting is an amalgamation of Persian and native Indian art. Additionally, after Akbar was exposed to Christian illustrations by Jesuits from the Portuguese colony of Goa, elements of European realism began to be incorporated into Mughal painting (Craven, 1997, pg. 202). The Jahangir School was established under the rule of Akbar's son, Jahangir. Jahangir was less interested in manuscript production than his father, preferring miniature paintings that chronicled events during his reign. He also showed interest in the study of nature and commissioned realistic portraitures of animals and plants found throughout the kingdom.
 * Mughal Painting**

This painting is a leaf from the //Dastan-i-Amir Hamza// (also referred to as the //Hamzanama//), an illustrative manuscript depicting the pursuits of the prophet Muhammad's uncle, Amir Hamza, and served as an illustrative guide for storytelling. The commissioning of this manuscript is reflective of the Mughal interest of depicting pursuits that interested Mughal rulers, mostly that of warfare and hunting. Typical of Mughal painting, it has no realistic sense of space. Instead, the painting exhibits an extended sense of space and a particular interest in pattern and color. This artwork can be seen by visiting The Cleveland Museum of Art website - http://www.clevelandart.org/explore/work.asp?accNo=1976.74&recNo=0&view=more.
 * Alam Shah Closing the Dam at Shishan Pass, from the Dastan-i-Amir Hamza, Mughal, Akbar school, c.1570. Color and gold on paper.**

Jahangir is pictured killing a lion in this painting. The act is supposed to symbolize power and courage of the ruler. The lion is thought of as the king of the animals, and so Jahangir, in slaying the animal, is a stronger king still. He is also trying to portray himself as a hero.
 * Jahangir Hunting Lions from an Elephant, attributed to Farukh Chela, ca.1610**

"Jahangir's Lion Hunt" - http://www.arthistoryarchive.com/arthistory/arabic/Islamic-Art-of-the-16th-17th-Centuries.html

This miniature painting depicts Jahangir seated on an hourglass throne. The sands of the hourglass, representing time, have nearly run out. Cupids attempt to slow the sands of time, inscribing 'O Shah may the span of your life be a thousand years' on the hourglass (Craven, 1997, pg.208). Jahangir has a halo around his head, to equate him to a god. He is surrounded by a Sufi saint, an Ottoman sultan, King James I of England and Bichitr, the artist. The size of each figure clearly indicates a hierarchy of importance in the eyes of the ruler. He hands a book to the Sufi saint, showing a preference for spiritual, rather than earthly, concerns. The painting is a good example of the combination of naturalistic forms and nonrepresentational patterns. Additionally, the cupids and hourglass are examples of Western influence in Mughal painting.
 * Allegorical Representation of Jahangir Seated on an Hourglass Throne (also known as "Jahangir Preferring a Sufi Shaikh to Kings") by Bichitr, ca. 1615-1618. Opaque watercolor on paper.**

"Jahangir Preferring a Sufi Shaikh to Kings" - http://www.columbia.edu/itc/mealac/pritchett/00routesdata/1600_1699/jahangir/jahangirsufi/jahangirsufi.html

The Zebra is also an example of the way art is interested in both flat patterns and representing nature. The Mughals most likely intended to express the beauty of god in nature.
 * Zebra, school of Jahangir, ca.1621**

This is a very realistic portrait of Inayat Khan, an opiate addict and alcoholic, two days before his death. The sketch is done for no other reason than to record reality.
 * Inayat Khan Dying, attributed to Balchand, 1619**

Rajput painting, named after Hindus of the warrior class, developed in the 16th century and flourished in the 18th century. Rajput painting, for the most part, is religiously themed and coincides with the rising popularity of bhakti, or devotional, Hinduism. Rajput painting was influenced by the Mughal style of painting; however, the images are less realistic than those of the Mughals. The unnatural use of color creates a symbolic effect, focusing the viewer on the theme rather than the scenery.
 * Rajput Painting**

This painting is an illustration of a story of Krishna, believed by some to be an avatar of the god Visnu. Krishna was born to the royal family of Mathura, but, after fear of his assassination, was sent to the country to be raised by foster parents. His foster mother slowly becomes aware that he is an unusual child because of instances like the one shown. Krishna, always depicted with blue skin, is shown uprooting two trees in order to release the spirits trapped in them. The painting is brightly colored and flat, with no horizon. Characteristic to Rajput painting, the figures are all shown in profile.
 * The Child Krishna Uproots Two Trees, Pahari style painting, c.1725**

This painting comes from the //Gita Govinda//, a story devoted to the relationship between Radha, a cow herder's daughter, and Krishna. The story of Radha and Krishna is particularly prevalent in Rajput painting, emblematic of the devotional worship and personalization of deities common at this time. Radha, though married, forsakes her husband for Krishna. She is symbolic of love and devotion to the gods.
 * Radha and Krishna in Discussion, from the Gita Govinda, by Basohli, c.1730. Gouache on paper.**

"Radha and Krishna in Discussion" - http://commons.wikimedia.org/wiki/Image:Radha_and_Krishna_in_Discussion.jpg

"Jahangir's Lion Hunt". Retrieved October 25, 2008 from the Art History Archive website. http://www.arthistoryarchive.com/arthistory/arabic/Islamic-Art-of-the-16th-17th-Centuries.html
 * Image References:**

"Jahangir preferring Sufi shaikhs to Kings". Retrieved October 23, 2008 from the Columbia University website. http://www.columbia.edu/itc/mealac/pritchett/00routesdata/1600_1699/jahangir/jahangirsufi/jahangirsufi.html

"Radha and Krishna in Discussion". The Government Museum and Art Gallery. Chandigarh, India. Retrieved October 25, 2008 from the Wikimedia Commons website. http://commons.wikimedia.org/wiki/Image:Radha_and_Krishna_in_Discussion.jpg

Craven, R. C. (1997). //Indian Art: A Concise History//. London: Thames & Hudson Ltd.
 * Text References:**