Mughal Painting and Literature

Mughal painting and literature flourished as integral parts of court culture, especially under Akbar, Jahangir, and Shah Jahan.

Mughal Painting Schools

The Mughal school of painting was born from a fusion of Persian miniature techniques with Indian traditions. Emperor Akbar established a formal tasvir khana (painting workshop) under the supervision of two Persian masters, Mir Sayyid Ali and Khwaja Abdus Samad. Under Akbar, large-scale illustrated manuscripts like the Hamzanama (1,200 paintings on cloth) and Akbarnama were produced. The style emphasized action, narrative, and vibrant colors.

Jahangir’s period (Peak of Naturalism): Jahangir was a passionate connoisseur. Paintings moved from narrative to individual portraiture, nature studies, and albums. Master artists like Ustad Mansur (famous for his Siberian crane and zebra), Abul Hasan, and Bishandas excelled. European influences (through prints brought by Jesuits) introduced shading, perspective, and Christian iconography.

Shah Jahan’s period: Art became more formal and luxurious, with emphasis on gold, ornate borders, and idealized portraits. The emotional warmth of Jahangir’s time gave way to cold opulence.

Decline under Aurangzeb: Aurangzeb disapproved of figural art and withdrew state patronage, leading artists to migrate to Rajput and Deccan courts, giving rise to new regional schools.

Literature

Persian was the court language, but Hindi, Sanskrit, and regional languages also flourished. Notable works:

• Akbarnama (Abul Fazl) – official history of Akbar’s reign.
• Ain-i-Akbari (Abul Fazl) – administrative compendium.
• Tuzuk-i-Jahangiri (Jahangir’s memoirs).
• Padshahnama (Abdul Hamid Lahori) – history of Shah Jahan.
• Translations of the Mahabharata (Razmnama) and Ramayana into Persian.
• Poetry by Faizi, Abdul Rahim Khan-i-Khanan (Hindi couplets), and the Sikh Guru Granth Sahib compilation.

These artistic and literary achievements created a rich composite culture that remains influential.