Indian Painting under the Mughals, A.D. 1550 to A.D. 1750 c16.10

c16.10

The scheme of this notable work as a whole was both pictorial and descriptive, a volume being devoted to each, but it is with its former aspect that we are more closely concerned. The volume reserved for the miniatures consisted of a complete series of portraits of the Mughal royal family and its principal supporters, from the earliest times to the middle of the seventeenth century; it was no doubt inspired by Akbar’s conception of a national portrait album to which reference has been made, but Shah Jahan considerably amplified this, and also brought it up to date. The pictures presented these historic personages not only as single individuals but also in groups, and with their chief officials and retainers added in the borders around them. Plate XXVI, a portrait of Akbar, is one of the series—one only from a large selection—and well illustrates the style of the work, all the pictures being executed in the same manner, although some are more ornate than others. The conception was characteristic of the age, especially in the lavish form in which it was carried out, and in the expansive borders with their figures, flowers, animals, and arabesques. On its production a staff of painters and writers was employed during the greater part of Shah Jahan’s reign, under the supervision of the most distinguished artists of the state. Of these an expert of the name of Muhammad Faqīrullāh Khān took the chief part, but he was assisted by an excellent portrait painter named Mir Hāshim. One page, probably towards the completion of the work, was allotted to the former artist, no doubt as a compliment to his assiduity during its preparation, on which his own portrait was painted together with the members of his staff. This is reproduced on Plate XXVII, and is one of the few pictures which give us actual likenesses of the Mughal artists, for these as a rule are known only to us by name or through their works. But here we have, as the inscription boldly tells us, a representation of the chief government artist in the flesh, and also portraits of the painters and writers who were his collaborators. Faqīrullāh Khān is depicted as a refined and middle-aged Muhammadan official in court costume, without any special indications of his artistic calling. It is unfortunate that only a very few pictures, the work of this painter’s hand, have survived, but those that have been identified as his, while of some merit, are not to be numbered among the best. It seems most probable that his duty was mainly that of supervision, the actual production XXVII. Portrait of Muhammad Faqīrullāh Khān, Head Artist at the court of Shah Jahan ; painted c. A.D. 1650 ; collection of Baron Maurice Rothschild, Paris ; size 14½" × 11½".