Indian Painting under the Mughals, A.D. 1550 to A.D. 1750 c11.11.1

c11.11.1

While the miniatures of the Mughals have become known mainly on account of their artistic qualities, the student will readily recognize that they also form a valuable pictorial commentary on the history of the period in which they were produced. They do not, however, profess to concern themselves with the state of the ordinary inhabitants of the country—for this we must refer to the contemporary Rājput art—but as a record of the habits and customs of the ruling class they are unique. Much of the work of the school had even a narrower object, its intention being to depict almost the daily life of the monarchs themselves. As these emperors were Muhammadans, the question will be asked, how were they able to reconcile their artistic proclivities with the strict tenets of their religion? In other words, how could they not only permit, but command, pictures of themselves and other living beings to be painted when the Prophet had declared in effect that ‘ on the day of resurrection those who had been guilty of making pictures of animate objects would be ordered to breathe life into their handiwork, and those unable to do so would perish in torment ’? ¹ It is now generally accepted that Muhammad laid down this law with the sole object of preventing idolatry among his followers, the pernicious effects of which were only too apparent among those of other religions with whom he was brought into contact.