Indian Painting under the Mughals, A.D. 1550 to A.D. 1750 c14.38

c14.38

It may be contended that with such preponderance of Indians in the school—for so far only two foreign artists have been named—the art of painting would show but small traces of Persian influence, and that it would be almost entirely indigenous in character. At one time this was undoubtedly the case, but as the school progressed the Persian personnel was strengthened by the arrival of another distinguished artist at the Mughal court. This was Farrukh Beg, who joined Akbar's service about the year 1585. Farrukh was a Kalmack of Central Asia, and brought with him a style of painting which was not only reminiscent of Mongolia and China, but which showed a marked individuality. Although his influence on the school of Akbar was to affect mainly its later period, his work made a distinct impression on the art of painting as a whole. An early picture by this artist is reproduced on Plate XIV, and shows how the Roman world, and the most important events of the reign of Antoninus Pius, are related by his biographer, and the reader will not be sorry to find them here in a more concise form. The reign of Antoninus Pius is marked by the rare advantage of furnishing very few materials for history; which is only another mode of saying that its happiness was complete. During the twenty-three years of his administration, the Roman empire was governed by the same invariable maxims of justice and peace. The natives of a vast extent of country were protected by the same laws, and enjoyed the same privileges. The frontiers were defended by the same legions, and the same spirit of moderation and equity prevailed in the councils of the emperor. The death of Antoninus was lamented as a public calamity; and the memory of his virtues was preserved by the gratitude of his subjects, and the imitation of his successor.