Indian Painting under the Mughals, A.D. 1550 to A.D. 1750 c21.11

c21.11

Towards the end of the sixteenth century, therefore, pictures of religious subjects from Europe were not uncommon at Akbar’s court, and these before long were followed by paintings of a secular order. None of the latter has survived, but their existence is proved in an interesting manner. In a copy of the *Shāhnāma* illustrated by Akbar’s artists is a picture of Humayun watching a number of women dancing.² The pavilion in which the emperor is seated is clearly copied from one which the artist had seen, probably a portion of a palace at Fathpur Sikri. At the back of the throne is a wall, on which, among other decorative effects, is a painted frieze ; if the scale of the picture is correct the frieze is about two feet wide, and continues round the four sides of the building. It consists of a series of panels in each of which is a European picture demonstrably of Portuguese origin. One panel depicts an animated scene of two cavaliers, wearing soft brimmed hats and loose cloaks, charging across the landscape. The original pictures were no doubt acquired by Akbar from Portuguese traders, who were now penetrating into his dominions in increasing numbers, and fixed by his order in position on the wall of the royal palace. It was an easy matter, therefore, for the artist to copy the mural scheme thus presented into his miniature. There is little doubt that by this time European pictures, religious and secular, were the fashion at the Mughal court, being displayed in many of the halls and pavilions of Akbar’s capital. And it was not long before these European works of art were followed by European artists. The first of the latter to be heard of in India was Brother Aranha of the Goa mission, who has been already mentioned. Shortly after the return of the priests from Fathpur Sikri, he met with his death, and his place was filled by an English painter of the name of John Storey, who arrived, together with those intrepid travellers Eldred, Fitch, Newberie, and Leedes, about 1583. Neither the Portuguese nor the English painter, however, journeyed as far as the capital of the Mughals, as there was too much work to be done at Goa, in the decoration of new churches and the copying of religious pictures, for them to be spared for this purpose. As the scope of the mission expanded, and the work increased, more artists were sent for from Europe. In 1595 one of these, a Portuguese, accompanied the third Jesuit mission to Lahore, and was the first European painter to arrive at the Mughal court. It was not long before he was summoned by Akbar, and directed to copy in his presence a picture of the Virgin Mary, brought by the priests, which the emperor had much admired. Such an episode in itself affords an interesting picture. We can see the Mughal sovereign seated in state and accompanied by his sons, their gaily coloured attire contrasting with the sombre garments of the small group of Jesuits standing near, while in the background is gathered a brilliant and expectant staff; into the midst of the assemblage steps the young Portuguese painter who proceeds to give an exhibition of his artistic skill.