Indo-Persian architecture & miniature paintings in India: Tracing the origins

The conquests of Northern India by the Turko-Afghans and the establishment of the Sultanate brought in new ideas in art and aesthetics. One among these is Calligraphy.

Calligraphy on stone inscribed on the Qutub Minar, Mehrauli- New Delhi 

The main centre of painting in the north of Persia (Iran) was Tabriz. Some of the earliest miniatures were painted there (1307-14) at the Academy of Rashid-al-Din. Here Chinese, Central Asian as well as Persians were employed to illustrate them. The Chinese style so obvious in the 14th century was fused into the Persian style. Curious clouds and ornamental dragons appeared in the Persian manuscript illustrations clearly declaring their Chinese origin. 

With the Ghorian conquests leading to the establishment of the Delhi Sultanate, the whole of North India was exposed to a massive infusion of Persian culture. Though there was an apparent Turkish dominance among the members of the ruling class, culturally Persian became the language of the court.

A Central Asian landscape  

When Humayun faced dissent from his brother Kamran Mirza in Kabul Afghanistan, he was forced to flee to Persia and seek refuge with the Safavids of Persia. The Shah, Tahmasp I, unlike his own family, gave him a warm welcome and treated him as royalty. It was during his stay here that Humayun was introduced to Persian artwork and architecture. He found out that much of the artwork could be traced to his own roots; namely the Timurid sultan Husayn Bayqarah and his ancestor, Princess Gauhar Shad. Further, Humayun was also introduced to the work of Persian miniaturists. Kamal-ud-Din-Behzad, the kitabdar (head of the royal workshop) had two of his pupils accompany Humayun when he re-established Mughal rule in Hindustan. 

After Humayun's death, these two men, Mir Sayyid Ali and Abd-us-Samad headed the studio set up by Akbar. It was under their training that the Mughal artists were initiated to illustrate the mystical Persian poetry of the 15th century. Right through Akbar's reign close supervision of the painting karkhana (workshop) continued with that of the kitabkhana (library). The collections included a variety of texts. 

Miniature painting of a Mughal Miniature painting karkhana in action. This painting is an exhibit of Indian museum, Kolkata  

Hamzanama was the first and most important project. Persian classics, romances, histories and biographies continued to be copied and illustrated. 

Arab Serai gateway (1560-61 CE)

This 14 meter high gateway led to the walled enclosure which houses the Persian craftsmen who came here for the building of Humayun's tomb. Red sandstone and white marble inlay work add a striking touch to the gateway. The projecting jharokha in Delhi quartzite stone still display remnants of the glazed ceramic tiles.

Arab Serai gateway is located within the Humayun's tomb complex in Delhi 

Jehangir, Akbar's son has been accepted by critics as the greatest connoisseur of Mughal painting. Even when he was known as Prince Salim, he had set up his own studio in Allahabad. After his accession to the throne, he had not only recruited artists who painted in the Isfahan style like Aqa Riza, but allowed his son Abul Hasan to become one of the foremost painters granting him the title of Nadir-uz-Zaman. He also set aside the tradition of collective work as in Akbar's studies, and trained his artists to specialise. 

By the time Shahjahan ascended the throne in 1628, the pace of political expansion had become quite slow. Moreover, he was more interested in architecture. 

Note the beautiful intricate designs on the façade of the Taj Mahal, Agra. Persian style and design that started with Humayun reached its peak during the reign of Mughal emperor Shah Jahan. 

Aurangzeb's reign saw the worst political crisis in Mughal history. Aurangzeb went further and upheld the religious ban on the depiction of living beings in art.

Thus, the Mughal Imperial studio was closed down and the Mughal painters dispersed!

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