Hey there friends :) hope you are all doing well. Here i am with a new post, It is about Illustrated Manuscripts from Akbar's reign. I hope you will like it.
Illustrated Manuscripts: Akbar's Reign
The
illustrated manuscript is an Indian Painting format which was introduced later
than murals or cloth paintings. The earliest known illustrated books were made
from talipot palm leaves dated 11th
century. There was a different way to
bind these pages. Once they were complete they were stacked and strung on one
or two cords. The top and bottom sides were used to cover with wooden covers.
This style of manuscript was given a special name known as pothi.[1]
Palm Leaf Manuscripts
The earliest form of manuscripts
were palm leaf manuscripts which were produced during Pala Dynasty. These were
the simplified and reduced form of the Classical Indian Style seen at the
Ajanta caves and were produced for Buddhist monasteries of Bihar and Bengal. The
subject matter of these paintings were iconic representations of Buddhist
deities. Placement of these paintings differ accordingly to the size of the
manuscript. Sometimes a single painting was placed in the middle of the page
and sometimes two or three paintings were placed in the center of the page. Further
these illustrations were adorned with geometrical patterns and arabesque
designs.[2]
Many of the Pala paintings have a
focal point which was either a figure of a deity or other important figures.
Pictorial elements are painted in vibrant red, blue, yellow, white and green
outlined in black or another colour. Stippling and tonal variation in these
manuscripts use to suggest light, shade
and volume. The earliest manuscript of Pala dynasty dates about 1000c.[3]
After
Pala's, Jain's also patronized illustrated manuscripts based on their canonical
and non canonical literature. These texts were based on two subject matters,
first Mahapurana which contained biographical account of Jain saints and other
was Kalpasutra , which was their Book
of Rituals. Earliest manuscript that survived during the Jain period belonged
to 11th and 12th century. Jain illustrations were painted on a
square panel which was of the folio height and was placed on the front and back
off the manuscript as its cover. Influences of Western Indian Style were seen
in the energetic line, flat pictorial space, limited palette and angular
humans. During the 1400 century paper replaced palm leaf and became the
favourite medium for Jain manuscripts. At first these paper manuscripts were a
copy of palm leaf but later in 1500 c. these manuscripts became shorter and
broader. However, paper became the favourite medium and numerous works were
done on it but due to other circumstances Jain Dynasty declined in 1550 and
1750.[4]
Western
Indian style was not only practiced in Jain manuscripts but during the 15th
and early 16th century painters from North and West India practiced
the newly added modes of painting. All these modes were given names for identification. One of these was purely Indian style Caurapancashika. This style was complimented because of its flat pictorial space, rigid compositions, vibrant palette and figures set against solid colour ground to depict Hindu subjects.[5]
According to J. Losty
These works are more like picture books with accompanying texts than true illuminated manuscripts. Their illustrations are rendered in different variations on the Caurapancashika style, some more sophisticated than others. Most probably, differences in patronage, artist, region or period account for these variations.[6]
Apart from Western India and Caurapanchasika style there were painters in North India (Deccan) who created the third mode of painting which was called Pre- Mughal/ Indo- Persian or Sultanate style. This type of painting was not consist of one style rather multiple styles produced by Indian artists who were inspired by Persian artists. From 13th - 17th c Indo- Persian painters were patronized by Indian Muslim rulers, noble men etc. During these years they produced copies of Quran with elegant scripts, embellished with abstract designs along with poetic and other secular texts. Nimat'nama is one of the beautiful illustrated Indo- Persian manuscript (Book of Delicacies), a compendium of recipes. It was begun for Sultan Ghyath ad Din Khilji (1469-1501). This manuscript was completed by his son Nasir ad Din (1501-1521). Nimat'nama combine a provincial interpretation of Persian painting with various Indian pictorial elements like profile views, stylistic features and figure types.[7]
Illustration during Mughal Period: Akbar
Mughal Dynasty is known for its
contribution towards the development of art and architecture. The dynasty was
founded in 1526 by Babur, a Central Asian invader and ruled the subcontinent
until 1858. This period was basically an amalgamation of Islamic, Hindu and
European culture. Under Mughal rule book illustrations and architecture were
the most worked subject matters. For book illustrations numerous schools were
built where several artists use to sit supervised by senior painter and prepare
manuscripts. Mughal school confined itself to portraying the somewhat
materialistic life of the court, with its state functions, processions, hunting
expeditions. While on the other hand Rajput painters who lived in totally
different environment, work for Hindu patrons, pictured scenes from the Indian
classics, domestic subjects and illustrations of life.[8]
Akbar had noticed the magnificent
architecture of Bukhara and Samarqand which Timurid's had build and attracted
numerous people which gained them popularity. Akbar was inspired by their
heritage and he decided in order to encourage art and literature he need to
develop a place where art activities will be done. Finally with the help of
architects and engineers Fatehpur Sikri was built between 1571- 1573. When
Fatehpur Sikri was built, a large number of painters were employed and were accommodated
in the studio.[9]
Many artists, craftsmen and literati
came from Iran. Mughal school of painting developed its origin under Akbar's
reign. Artists who work under the royal workshop at Fatehpur Sikri were
Persians, South Asian Muslims and Hindus. They had an emphasis on naturalism
which was not seen in earlier manuscripts.[10]
Akbar was deeply interested in other
religions and regions specifically Indian and Christian. Numerous priests used
to visit Akbar's court and he even translated Sanskrit text into Persian. The
earliest example is "Arrival of Nanda
and his family in Brindaban", from an imperial copy of Harivamsha.
This copy was illustrated twice during Akbar's reign. The first set of Harivamsha paintings was appended to an
illustrated copy of the Razm-nama (Mahabharta) finished about 1586. Shortly
after that date, about 1586-90, a second copy was illustrated. Though only
twenty eight leaves survived today.[11]
These earliest projects undertaken
were of uneven quality and unresolved style but soon the delicate and graceful
style of Mir Sayyid Ali and Abdus Samad influenced Mughal painting.
Illustrated Manuscripts under Akbar's reign were
· Timur nama
· Tuti nama
· Akbar nama
· Babar nama
· Hamza nama
· Changiz nama
In Akbar-nama the emperor wanted to glorify his rule and in Timur-nama of 1584-85, Changiz-nama 1596, he hoped to legitimize the Mughals as great Muslim dynasty by connecting them with the Timurids and the Mongols.
Tuti-nama
The tuti-nama or Tales of Persian text is a 14th century Persian series of fifty two stories, contained within a larger story about a parrot and myna, owned by a young merchant. According to the text merchant had to go on a journey and instructed his wife not to do anything without seeking guidance of the birds. Shortly after her husband's departure, the wife fell in love with a beautiful youth. One night, she seeks permission from myna, to visit her love but when the bird refused she killed it. Next, the wife sought the consent of the parrot. The clever parrot solved this dilemma by telling its mistress an enchanting story each night so that she would stay at home rather than visiting her love. After fifty two nights, the merchant returned home and the parrot reported to him what happened. the angry man killed his wife and never re-married.[12]
This book was commissioned by Akbar himself by his court historian and biographer, Abu al Fazl. It was written in Persian and includes vivid and detailed descriptions of his life and time. Abu al Fazl intended to chronicle Akbar's life in four volumes but the later emperor Jahangir, was so jealous of the relationship between his father and Abu al Fazl that he killed painter. Because of this incident the intended fifth volume Ain e Akbari, 1598 was presented to Akbar that became the third volume of the manuscript.[13]
The illustrations in the royal Akbar-nama are much more than simple illustrations. Some of the major events were included such as Akbar's visit to the shrine of Muin ud Din Chisti at Ajmer.Another manuscript from Akbar-nama was when Abu al Fazl visited Akbar and presents Akbar-nama. (figure 7). The first volume of Akbar-nama deals with the birth of Akbar, the history of Timur's family, the reigns of Babur and Humayun and the Suri sultans of Delhi. The second volume describes the detailed history of the reign of Akbar till 1602, and records the events during Akbar's reign. It also deals with that how Bairam Khan and Akbar won the battle of Panipat against Hemu an Indian warrior. The third volume is named Ain-e-Akbari, and details the administrative system of the Empire as well as containing the famous "Account of the Hindu Sciences".
Chagez-nama
An illustration from Changez-nama shows masterly skills of Baswan, painter from Akbar's school of arts. This illustration is from the portion Jami'al Tawarikh by Rashid al Din (1247-1313) that traces the history of the Changez Khan and the Mongols. Very little is known about the production of Changez-nama. The text pages which carry a colophon mentioning its completion in 1596, as well as ninety eight leaves. According to the text it depicts the destruction of the fort at Alamut by Halagu Khan. This inscription suggests that three different moments are shown, the painting seems to condense them. Halagu Khan dressed in armor and holding a bow in his left hand is sown standing atop the main gateway of the red walled fort attended by a fly whisk bearing servant. His right finger is placed near his teeth in absolute conformity with the text. Below him in the fort, unarmed men tear down Alamut's walls with pickaxes. Three figures in military dress to the left and the right must represent members of Alamut's vanquished army: the two on the right are shown with their hands humbly folded and their faces turned towards Halagu. The one on the left who must be the surrendering Muqaddim, bows slightly with his hands outstretched and palms up as if greeting or entreating the conquering hero. Outside Alamut's walls the spirited army of Halagu Khan, mounted on chargers, ride up the great mountain and across the fort's bridge. One might think that these men are storming Alamut because they brandish their weapons and bear shields; but the ease with which a foot soldier is shown opening the main gate suggests that the men who follow him are simply jubilant victors entering the fort after its defeat.[14]
This composition reflects Baswan's fascination with the space and depth. The picture is lucidly organized into three distinct planes, foreground, middle ground and background. These spatial planes are linked together by the files of soldiers who ride across the foreground, advance through the middle ground and end up in the background. The diagonal movement of the troops in the middle ground is particularly effective: it gives the painting a strong feeling of depth. The transition between the three planes are smoothed by a national system of color patterning that enables one's eye to move with a measured rhythm through the densely packed group of soldiers.[15]
Numerous names of the artists recorded by librarians on paintings in royal manuscripts of the late 1580's and early 1590's proves that the Kitab Kahana has expanded considerably. Method of working might have changed because of the progress. Most of the paintings were done by the two artists, the senior artists designs the composition and his junior does the work.
European Influence: Emphasis on Portraiture
The new emphasis on portraiture can be connected with the arrival of European bringing Western art.. According to Abu al Fazl portraits have been painted of all His Majesty's servants and a huge book has been made. European delegation visited Akbar's court during 1575, they were called to participate in religious debates. When the Jesuits were asked to explain Christian doctrine to Akbar's children, they showed the children pictures in books. At that time Akbar ordered the court artists to be present and to paint everything. Many engravings were given to Akbar which were later copied by his artists who used tracings to enable them to transfer complete images onto a single page or to insert small details into a different composition. Soon they were able to produce their own illustrations of exotic art but perhaps the most profound Western influence was on portraiture.[16]
[1]
"Introduction," The Met, http://www.metmuseum.org/learn/educators/curriculum-resources/art-of-the-islamic-world/unit-five/chapter-four/introduction
(accessed May 22nd, 2016).
[2] "Mughal
Painting under Akbar: The Melbourne Hamza-nama and Akbar-nama paintings,"
National Gallery of Victoria, http://www.ngv.vic.gov.au/essay/mughal-painting-under-akbar-the-melbourne-hamza-nama-and-akbar-nama-paintings/
[3]
"Mughal Illustrated Manuscripts," History of Mughal Illustrated
Manuscripts,
http://indianartinfo.wordpress.com/category/mughal-illustrated-manuscripts/
(accessed May 14th, 2016).
[4]
"Page from Harivamsa Manuscript: The Arrival of Nanda and his Family in
Vrindavan," VMFA, http://vmfa.museum/collections/art/page-harivamsa-manuscript-arrival-nanda-family-vrindavan/
(accessed May 23rd, 2016).
[5] Susan Stronge, Made for Mughal Emperors (n.c: I.B. Tauris, 2010), 114-115.
[6]
Joseph M. Dye III, The Arts of India:
Virginia Museum of Fine Arts (Richmond: Philip Wilson, 2001), 231
[7]
ibid. 232.
[8]
Joseph M. Dye III, The Arts of India:
Virginia Museum of Fine Arts (Richmond: Philip Wilson, 2001), 236.
[9]
"Mughal Illustrated Manuscripts," Ehtnic Paintings http://www.ethnicpaintings.com/illustrated_manuscripts/mughal/
(accessed May 23rd, 2016).
[10]
Joseph M. Dye III, The Arts of India:
Virginia Museum of Fine Arts (Richmond: Philip Wilson, 2001), 181.
[11]
ibid. 183
[12]
Dye, The Arts of India: Virginia Museum
of Fine Arts, 184
[13]
Dye, The Arts of India: Virginia Museum
of Fine Arts,185
[14] "Miniature Painting," Centre for Cultural Resource and Training, http://ccrtindia.gov.in/miniaturepainting.php (accessed May 22nd, 2016).
[15] Dye, The Arts of India: Virginia Museum of Fine Arts, 186.
[16] ibid. 186
Bibliography
Desai, Barbara Schmitz and Ziyaauddin A. Mughal and
Persian Paintings and Illustrated Manuscripts in the Raza Library.
ignca.nic.in/ks_61.htm (accessed May 22, 2016).
Guy, John. "Mughal Painting under Akbar: The
Melbourne Hamza-nama and Akbar- nama paintings ." National Gallery of
Victoria. www.ngv.vic.gov.au/essay/mughal-painting-under-akbar-the-melbourne-hamza-nama-and-akbar-nama-paintings/
(accessed May 15th, 2016).
III, Joseph M. Dye. The Arts of India: Virginia Museum
of Fine Arts. Richmond: Philip Wilson, 2001.
Mughal Illustrated Manuscripts. www.ethnicpaintings.com/illustrated_manuscripts/mughal/
(accessed May 21, 2016).
Stronge, Susan. Made
for Mughal Emperors: Royal Treaures from Hindustan. I.B Tauris, 2010.
"The Mughal- era Indian Collection." Chester
Betty Library.
www.cbi.ie/collections/The-Islmic-Collection/The-Mughal-Era-Indian-Collection.aspx
(accessed April 12th, 2016).
Wilson, R. Pinder. An illustrated Mughal Manuscipt
from Ahmadabad.
www.islamicmanuscripts.info/refrence/books/Pinder-Wilson-1969-Paintings/Pinder-Wilson-1969-Painitngs-160-171-Pinder-Wilson.pdf
(accessed May 16th , 2016).
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