Indian Painting under the Mughals, A.D. 1550 to A.D. 1750 c18.28

Language: English

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From this general survey of the illustrative art of Akbar’s school of painting, we may now turn to a study of the painters themselves. It must be realized, however, that information with regard to these is distinctly fragmentary; of the majority little more than their names is known, and then only because Akbar’s industrious, but not always reliable, clerical staff wrote them, like labels, on their pictures. Except for Abu’l Fazl’s description of a few of the leading ones, the Mughal painters are very vague personages, articulate only in their art, which on its part tells more of the royal circle around them than of their own individuality. Unlike the artists of almost all other oriental schools, the Chinese or Japanese for instance, no details of their lives have been preserved, no characteristic sayings have been recorded, no anecdotes related, even portraits of them are rare, although they painted likenesses in profusion of those for whom they worked; undescribed and undefined they stand, a shadowy group in the background of the royal drama in which they took such a noteworthy part, never once stepping out into the light. The only member of the school whose career can be traced from beginning to end is the pioneer of the movement, Abdus Samad. Some details of his early years have already been given, but his subsequent progress is interesting.

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Soon after arriving in Kabul, Humayun was so impressed with the Persian painter’s skill that he gave him the title of *Shirin-qalam* or ‘Sweet Pen’, while shortly after Akbar came to the throne he conferred on him the high official rank of *chaharsadi*. The latter monarch also, ‘on account of his former services, paid him great honour and reverence’. The respect that Akbar showed to the artist, and of which Abu’l Fazl makes a special note, arose from the fact that Abdus Samad had been his tutor, having taught him drawing at Kabul. The deference that an Indian, throughout the whole of his life, displays towards those, however humble, who have at any time acted as his instructors, is one of the most attractive traits in his character. Abdus Samad excelled in portraiture, notably in delineating the features and expression of the emperor, so much so that it is recorded that ‘his perfection was mainly due to the wonderful effect of a look of His Majesty, which caused him to turn from that which is form to that which is spirit’. It was, however, in his capacity as a teacher, of which his royal patron had personal knowledge, that he achieved the greatest renown. For Abu’l Fazl remarks that ‘from the instruction they received, the Khwajah’s pupils became masters’.

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But his crowning success was when he had trained and brought out the famous Hindu artist Daswanth, who, having been ‘handed over to the Khwajah, in a short time surpassed all painters, and became the first master of the age’. Afterwards his services seem to have become so valuable that he was withdrawn from the school, and promoted about the year 1577 to the appointment of Master of the Mint, which distinguished position he filled with great credit for several years. The result of his association with this department may be observed in the high character of the Mughal coinage of the period, which is not only remarkable for the purity of its metal and fullness of weight, but for its very fine artistic appearance. It is not difficult to see how such perfection was attained. In its production the leading poet was commissioned to compose the couplet, the most skilful calligraphist inscribed it, the ablest sculptor modelled it, and the best engraver fashioned the die. And over all was placed the first artist of the state, so that the coin should be the most finished artistic production of its kind. Under such unique conditions it is not surprising that the work of Akbar’s mint is considered superior to that of any other country of the period. The action of the Mughal emperor in this connexion is significant of his attitude generally towards the subject of art, and his application of it to such practical purposes.

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Abdus Samad completed his career by becoming Diwan or Revenue Commissioner of Multan, apparently an honour given to him in his old age. After this nothing further is known except that the family name was maintained in even greater dignity by his son Sharif, but not in the sphere of art. It was as an administrator that the young Persian made his reputation, rising above all his contemporaries, and, as Akbar had honoured the father so Jahangir rewarded the son, conferring on him ‘the lofty title of Amir ul-Umara (premier noble of the realm), to which no title of any servant is superior’.