Indian Painting under the Mughals, A.D. 1550 to A.D. 1750 c18.24

c18.24

Incidentally the former painting is one of the few folios in the South Kensington *Akbarnāma* bearing only one artist’s name, a fact which aids considerably in any comparison with other specimens of Farrukh’s handiwork. The contrast, however, between these two examples, as proved by the reproductions, is too obvious to need any detailed description. Of another painter whose style is distinctive the same remarks apply. Plate XXXIX shows a stirring incident from the South Kensington collection in which the Emperor Akbar is depicted as taking a prominent part. The ‘Great Mogul’ may be seen in the picture mounted on an elephant engaged in madly pursuing another across a bridge of boats, to the damage of this frail structure and the injury and fright of many people who were unfortunate enough to be in the vicinity. Basawan collaborated with Chatar in the production of this picture, which is one of the most spirited of the whole series. In its details it bears some resemblance to an illustration on folio 34 in the British Museum *Dārābnāma*, also attributed to Basawan, but otherwise there is no noticeable similarity. Many other artists’ works in this copy of the *Akbarnāma*, whose styles are less familiar, may be subjected to the same process of comparison with the same unconvincing results. This volume of pictures, therefore, although inscribed with the names of the most famous of Akbar’s book illustrators, does not as a whole seem to correspond in quality to the other groups known to belong to the Akbari school. The actual workmanship may be as good, but in its general character the South Kensington series is undeniably inferior. From this it may be inferred that it is a copy, nevertheless a contemporary copy, as the inscription on the fly-leaf, the authenticity of which is unquestionable, plainly demonstrates. And in the wording of the inscription probably lies a clue to the otherwise unaccountable character of the work. It records that Jahangir placed the book in the imperial library on his accession in A. D. 1605, thus leading to the assumption that it was his own personal copy. Such a copy must have been made for him towards the end of the sixteenth century, while he was yet a prince, and prepared at his own request from the original volume previously executed for the Emperor Akbar. The original, on which all the leading artists of the state were employed, has disappeared; Jahangir’s duplicate only has survived. For the preparation of this copy Prince Salim, as he was then, was not in a position to claim the service of the best painters, and was obliged to fall back on a secondary group, not sufficiently skilful to be included in Akbar’s state school. This staff was retained by the prince while the commission was in hand, and it comprised a number of workmen capable Illustration from the Khamsah (folio 82); painted by Farrukh Chela A.D. 1593 Subject—Laila and Majnun; collection of Mr. Dyson Perrins Malvern, England; size 8½" × 5½".