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| Empress Noor Jahan Los Angeles County Museum of Art |
If you look at a painting, and the painting is 5x5 inches in size, and if that painting captures your heart, then it would be an Indian Miniature Painting.
The word miniature means small. Small in size. The style of miniature paintings originated in Persia and Turkey. These were the countries where the heads of state helped the artists to grow in their art.
Thereafter, with the spread of the miniature art culture on the left and right sides of the countries of its origin, the art entered the land of India. The miniature art of painting migrated to India in the sixteenth century.
The art and the subjects narrated in the art form always act as a mirror. The mirror of society in general. The artists' works reflect contemporary society: its culture, its habits, its likes and dislikes. Even the clothes they wear and the ornaments they like are made the subjects of the artistic representation.
The miniature painting movement in India followed the same pattern of representation. It was the style of painting developed during the sixteenth and seventeenth centuries. During this period, the Mughal Dynasty ruled over most parts of India. And as the Mughal Emperors were the pioneers in initiating this art in India, it was nicknamed Mughal Miniature Paintings.
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| Empress Noor Jahan Los Angeles County Museum of Art |
The Origin of Miniature Paintings: Descended from the art of Persia and Turkey, the style of miniature paintings thrived in India. The artists working in this style were financially supported by the Mughal Emperors of India. The Rajput Kings of Rajputana, the northern region of India, had well supported the art in their part of the land.
In many ways, the subjects painted in these paintings are historical in nature. They show how the people of India lived in those days. On a close look, we can see the style of living and the types of costumes and ornaments these people used in the medieval era. The trend continued during the post-medieval period, too.
For those who want to know more about the life of
Indian Princes, Kings and Emperors of those days, here are some painted
details. This article narrates the different aspects of Miniature
paintings.
The golden period of Miniature paintings in India was during the 16th
and 17th centuries. The Mughal Emperors Babur, Humayun, Akbar, Jahangir,
Shajahan and others supported the miniature artists. These artists painted the whole stock of Indian miniature art.
Many Hindu and Rajput kings also supported the miniature artists. such
artists worked at local levels, too.
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Abul Fazl Presenting Akbarnama |
Materials Used in Miniature Paintings: The materials used by the artists were generally self-made. Mainly, the material was soft and thin skin, copper plates and ivory plates. In France and Italy, the artists used metal plates and ivory as the base material, too.
In later years, the paper was also used
for miniature art. The leather used as a base material was the vellum, a fine
parchment made originally from the skin of a calf or smaller creatures.
In earlier times, miniature painters used mostly watercolours as their medium of painting. The watercolours they used were hand-made. The junior artists were required to grind the substances and make the colours.
The
substances they used for the watercolour were indigo, gold, and precious stones
gathered from all over the Indian subcontinent. They also used
locally available materials like vegetables, minerals, conch shells and other
materials. The cost of all the materials used was borne by the sponsors of
the artists. The sponsors were the Emperors and the Rajput kings.
The Subjects Of Miniature Paintings: If the subjects painted by the
Miniature Artists of the sixteenth and seventeenth centuries were to be listed, the list would be like this:
- The battle scenes of political conquests
- The court scenes wherein important decisions were taken.
- The characters and incidents of Hindu Mythology
- The Gods and Goddesses of the Hindu Religion.
- The events of old scriptures.
- The details of the events in the life of Lord Rama and Lord Krishna
- The themes earlier depicted in the Mughal or Persian Miniatures
- The costumes and ornaments of the Emperors and the kings.
- The ornaments and costumes the women of the political families wear
The miniature artists took the local subjects to paint their art. The handy subjects were the life and events of their sponsor Emperors and the Rajput kings. The animals like horses, camels and elephants were shown along with other subjects painted in the frame.
In many paintings, these animals were
shown in the scenes of battles, too. The emperors and the kings were fond of
keeping their memoirs, written and painted. So the artists used those subjects
frequently. The paintings of Mughal women and Rajput princes were also becoming
part of the frames of miniature art.
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| Baburnama, Memoirs of Babur (1483-1530) |
Paintings Depicting Medieval Indian Culture and Lifestyle:
Mughal or Indian Miniatures,
Jaipur and Rajasthan Paintings
The art of Miniature paintings is a golden page in India’s art history.
Though the art got its due recognition with the advent of the Mughal empire in India, miniature paintings had their presence in India long before that era.
For the promotion of art at the ground level, the Rajput kings of northern India also contributed their desires and wealth.
It is a fact that the Miniature paintings gained wide recognition from the days of Mughal Emperor Akbar.
THE PERIOD: The art of Miniature paintings is a golden page
in India’s art history. It was the time of the sixteenth and seventeenth centuries that made the art of miniature paintings so popular
in India. The miniature paintings depicted the life and lifestyle of
the Mughal and Rajput Kings of the time. The miniatures were painted to narrate
how the princes lived, what they wear and how they fought the wars.
However, the major portions of the artists’ endeavours were devoted to
showing the ways and manners in which these medieval kings and princes enjoyed
their life. Thus these miniature paintings were not only the mute
spectator of their era, but they still are the authenticated witness of the
social and cultural development of medieval India.
THE ART: These paintings are full of subtlety and sophistication. On seeing them, we may wonder how the artists
have displayed their emotions in such a constrained space. And that
too before centuries when there were not enough techniques and colours available.
The paintings of this style, miniature art, are also seen in fragments
of murals in many parts of south India.
The lifestyle of Medieval India: The people shown in Mughal Miniatures paintings represent the lifestyle of the Mughal and Rajput periods. Especially, the female figures painted in Mughal Miniatures depict the characteristics of the Indian tradition of the time. Their ornaments, costumes and the colour of their clothes witness the class to which they belong.
The ornaments like Necklaces, bracelets, and rings
form part of the set, adding beauty to the men and women of medieval India.
The people shown in the paintings mainly came from the upper class and princely families.
Princes and princesses wearing gold and jewellery were like the mines of the subjects for paintings, and they used these mines extensively. Associated almost exclusively with royalty, the jewellery was, too, the subject for miniature artists to consider before taking brushes in hand.
It was an emblem of power and proof of wealth. While looking at the
Mughal miniatures, we can see that they resemble the Persian style of paintings.
It is so because of the artists who did the Mughal era.
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| EMPEROR AKBAR IN HIS COURT |
After the death of Babur, who was a poet and an artist himself, his heirs
carried on the artistic journey. The following Emperors Akbar, Jahangir and
Shah Jahan, added their vision to transport the cart of art ahead.
The miniature style of paintings practised during this period was clearly
influenced by the style of Persian painters who used an upright format and general
setting with an emphasis on flat aerial perspective.
The Mughal era artists, in the time of King Akbar (1556-1605), maintained the qualities of Persian style in their work. But they added their vision and took some freedom.
They applied naturalism and tried the depiction of detailed
observation of the world in its immediate surroundings.
From the day Emperor Humayun invited two great artists of Persian
miniature painting, miniature art in India started flourishing. Akbar, son
of Humayun, carried forward the tradition of helping the artist and promoting miniature art.
In addition to the Mughal kings, the Rajput kings who ruled Jaipur and the
surrounding area, too, sponsored the artworks and the artists who did
miniature paintings under various schools of Rajputana. The Rajput kings
helped their artists with money, honour, and the required materials
for the paintings. For the artists, a set of newly found subjects to paint
was emerging. They started painting portraits of Rajput kings, princes and
princesses.
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| EMPEROR AKBAR IN HIS COURT |
Akbarnama, The Book of Secular Art. The history of Mughal Miniature paintings is the history of India's medieval period.
After the death of Babur in 1526, there had been turmoil in Delhi, the capital of India. But Humayun, the dethroned son of Babar, managed to regain his kingdom. However, at the time of his untimely death, he left his minor son Akbar as king.
Babar was a poet and an artist himself, and his heirs carried on the artistic journey. The following Emperors, like Akbar, Jahangir and Shah Jahan, added their vision and transported the chariot or the cart of the art ahead.
In the above painting, the court of Akbar is shown. He was having a meeting
with religious leaders. Unlike
other Mohammedan kings, Mughal Emperor Akbar was known for his
liberal views about following one’s religion. He regularly held
religious assemblies with the heads of different religions.
In
the above miniature paintings that are a page from Akbarnama, the
two men dressed in black are the Jesuit missionaries, Rodolfo Acquaviva and
Francisco Henriques. This illustration was painted for the Akbarnama,
the Book of Akbar, a book describing the emperor Akbar's time and
deeds.
COLOURS USED IN MUGHAL MINIATURES: The technique of miniature
paintings requires a high degree of expertise, as this art form delicately uses of
brushes and paints. The colours used by the artists of the Mughal era
chiefly came from materials like minerals, vegetables, precious stones, indigo,
and conch shells. The painters sponsored by the Emperor used gold and
silver to decorate the paintings, as such luxury was limited to the court painters
only.
The colours mixed with gold and silver were used extensively in the paintings showing the scenes of princes and other court figures. With the use of not so rich palette, compared to the colours prepared in modern times, the Mughal Miniature artists executed their works of art by creating a lively effect and balanced composition.
painter of the above miniature, EMPEROR AKBAR IN HIS COURT, is believed to be Nar Singh, and the year was 1605. Akbarnama depicts the Mughal miniature paintings and narration of Emperor Akbar's life and deeds.
THE ART: Persian painters of the miniature style used upright formats
as their subject of depiction. They emphasized such a position of the figures.
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Govardhan, Public domain, via Wikimedia Commons Abu'l-Fazl presents Akbarnama to Akbar |
These artists tried to depict the detailed observation of the world in their immediate surroundings. In that sense, they were like genre painters.
Keen observation of some of the paintings of Akabarnama would speak about the changed perspective. In the above Miniature Painting, the artist and poet Abul Fazl presents a copy of Akbarname to Emperor Akbar.
The Akbarnama,
meaning the Book of Akbar, is a biographical account of Emperor Akbar’s
life and works. This book is also like a mirror of medieval
Indian culture and art.
The Timeless Art of Indian Miniature Paintings: Style, Costumes, and Subjects
Indian Miniature Paintings represent one of the most intricate and culturally rich forms of art in India’s vast visual history. These paintings, though small in size, are vast in their storytelling, vibrant in color, and steeped in historical and cultural detail. One of their most fascinating aspects is their ability to depict the lavish and traditional costumes of medieval India, capturing the essence of court life during the Mughal and Rajput eras.
With roots extending as far back as the 6th century, the golden age of Indian miniature painting arrived during the Mughal Empire, when emperors like Akbar, Jahangir, and Shah Jahan transformed it into a refined and celebrated artistic tradition.
The Grandeur of Medieval Indian Costumes in Miniature Paintings
One of the first things that strike viewers of Indian miniature paintings is the ornate costumes and detailed accessories that adorn the figures. The clothing worn by both men and women in these artworks tells stories not only of wealth and status but also of the artistic sensibilities of the time. Richly colored fabrics, intricate jewelry, and luxurious turbans populate the scenes of royal durbars, hunting expeditions, or romantic encounters.
In particular, female figures in Mughal Miniatures offer a lens into the fashion sensibilities and social roles of women in medieval India. These women are shown wearing elaborately embroidered lehenga-cholis, odhnis, and silken saris, adorned with bangles, anklets, nose rings, and heavy necklaces.
The men—emperors, courtiers, and warriors—are often depicted in jamawars, angarakhas, and sherwanis, with jeweled swords at their sides and intricately designed turbans crowning their heads.
What sets these depictions apart is their accuracy and symbolism. Artists paid close attention to regional clothing variations, textiles, and accessories, making these miniatures a valuable visual archive of India’s costume history.
The Historical Roots and Evolution of Indian Miniature Painting
While the art of miniature painting existed in India as early as the 6th and 7th centuries—seen in manuscripts and religious texts—the art form came into full bloom during the Mughal era in the 16th century. The Mughals brought with them Persian influences, which merged beautifully with indigenous Indian techniques and traditions to create a new hybrid art style known as Mughal Miniature Painting.
This period gave birth to illustrated manuscripts like the Baburnama, Akbarnama, and Jahangirnama, where royal artists meticulously painted the lives, conquests, and courtly rituals of the Mughal emperors. These works, beyond their literary value, became stunning visual narratives of India’s medieval history.
The Mughal emperors were instrumental in establishing formal ateliers or painting workshops that trained hundreds of artists. Emperor Akbar, in particular, was a visionary patron of the arts. Under his reign, miniature painting reached unprecedented levels of refinement. The style involved naturalistic figures, perspective in architecture, and intricate background details, setting the stage for generations of artists to come.
Mughal or Indian Miniature Painting: A Secular Art Form in a Religious Age
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| Krishna, the gopis and cows, Indra, and a royal couple English: thesandiegomuseumofartcollection, Public domain, via Wikimedia Commons |
One of the most fascinating features of Mughal Miniature Painting was its secular spirit. Despite the Mughal rulers being devout Muslims, their art often strayed from strict religious iconography.
Instead, it embraced a wide range of subjects—royal portraits, romantic episodes, hunting scenes, garden parties, and even battles.
For instance, in many miniatures from the time of Emperor Babur, we find scenes of the emperor hunting in the wild, surrounded by attendants and animals.
Other paintings capture moments of affection between princes and their lovers, reflecting the courtly romances popular in Persian and Indian literary traditions. These works prioritized beauty, emotion, and narrative rather than religious devotion.
By promoting this inclusive and eclectic vision, Mughal Miniature Painting became one of India's earliest forms of secular fine art, embracing diverse themes and human experience.
The Regional Spread and Influence: From Mughal to Rajput Styles
As Mughal artistic traditions evolved, their influence spread far and wide, giving birth to various regional styles of miniature painting, particularly in Rajasthan and the Pahari hills. Each school adopted elements of the Mughal style but added local flavor, cultural themes, and regional aesthetics.
One such example is the Jaipur School of Miniature Painting, which flourished due to the alliance between the Rajput rulers of Jaipur and the Mughal emperors. Under Mughal patronage, Jaipur artists continued to paint in the Mughal tradition but expanded their thematic scope. Court scenes were painted with greater detail; landscapes became more romanticized, and artists explored spiritual narratives with fresh interpretations.
The Vibrant Vision of Kishangarh and Bundi-Kota Styles
Another significant regional school influenced by the Mughals was the Kishangarh School, known for its exquisite depictions of Radha and Krishna. Here, divine love was painted with unparalleled grace. Female figures were depicted with delicate faces, almond-shaped eyes, and sinuous bodies—an ideal of beauty that defined the Kishangarh aesthetic.
In the Bundi and Kota regions, the style evolved to emphasize lush landscapes, flowing rivers, and dense forests. These paintings often included hunting scenes, elephant battles, and royal processions—all rendered in vibrant hues with a red-dominated backdrop. The use of vegetation, stylized clouds, and motion-filled compositions made these works highly dynamic.
Women in these paintings were characterized by elegant postures, slender proportions, and expressive facial features, reflecting a more sensual and romantic view of femininity. Bright colors—especially red, yellow, and green—were used extensively, with fine gold detailing to heighten the luxurious appearance of the artworks.
The Artistic Legacy of Indian Miniature Paintings
Today, Indian Miniature Paintings are treasured not only for their artistic brilliance but also for their historical and cultural significance. Museums across the world—such as the National Museum in New Delhi, the Victoria and Albert Museum in London, and the Metropolitan Museum in New York—hold remarkable collections of Mughal and Rajput miniatures.
For modern art lovers, these paintings are not just artifacts; they are visual encyclopedias of medieval India’s aesthetics, fashion, politics, and emotional landscape. Whether portraying the shimmering fabric of a queen’s attire or the momentary glance exchanged between two lovers, Indian miniature paintings capture the soul of an era—elegant, colorful, and deeply human.
Miniature Paintings as India’s Cultural Mirror
The world of Indian Miniature Paintings is one of remarkable detail, emotional depth, and historical richness. From the palaces of Mughal emperors to the romantic courts of Rajput kings, this artistic tradition offers an unparalleled window into India’s medieval and early modern past.
Through the depiction of ornate costumes, narratives of love and war, and landscapes brimming with life, miniature paintings continue to captivate viewers with their visual storytelling. They are not just miniature in size but monumental in meaning, preserving the legacy of a civilization where art, culture, and beauty were deeply intertwined.
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| Court of Akbar, Akbarnama. |
Akbarnama: Painting secular Art of Medieval India: Mughal Miniature Paintings are like a pictorial narration of the lifestyle of Medieval India. If we are to earmark a golden period in the history of Indian art of painting, the years during which the Mughal Emperor Akbar (1556 – 1605) ruled over India would have a sole claim and strong claim.
This was the era when art lovers, Emperors and kings of other states
in Rajasthan augmented the pace of development of the art of painting.
The court of Akbar, an illustration from Akbarnama. The spiral composition, with horses defining the outer edges, skillfully draws the viewer's attention to the young emperor (age 13). He is portrayed in a powerful central position from which he exercises his first imperial act: the arrest of an unruly courtier, who was once a favourite of Akbar's father. Besides the court of Emperor Akbar, the other kings of Rajputana and South India, too, joined the movement of art and sponsored the works of artists.
If the above painting is any
evidence, we can say that the miniature paintings done in the
seventeenth century are like the pictorial history of medieval India. The
artworks of this period depict several aspects of the life of the people: the
social norms of living they followed, the costumes and jewellery they wore, and
the lifestyle they practised. Description of the above
painting: Opaque watercolour and gold on paper. Size 14.4 x 20
cm. Designed by Basawan and painted by Shankar.
There were forms of art, which were known as Islamic art. But the art of painting that flourished in India was not confined to any religion.
Emperor Akbar had ruled like a real ruler, and thus he had behaved differently from his
predecessor emperors.
Akbar was an advocate of peaceful coexistence; he had endeavoured to blur the line that divided people into religious segments, namely Hindu and Muslim. His concept of secularism had affected the art to progress, making inroads into all sections of society.
The Mughal Miniature or Indian paintings were done
in India during the time of the kings of the Mughal dynasty, especially
in the early years. The Mughal dynastic line from Timur to Aurangzeb ruled
major parts of India from 1370 to 1857. But the real rulers were Akbar,
Jahangir and his contemporaries who lived during the sixteenth and seventeenth
centuries. After that period, the Mughal emperors were not much interested in
supporting art.
The paintings done with the sponsorship of the Rajput Kings of Rajasthan and other regions of India were greatly affected by this style of miniature paintings. These paintings depicted mainly various activities of the kings, their wives, and the court people
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| Krishna, the gopis and cows, Indra, and a royal couple English: thesandiegomuseumofartcollection, Public domain, via Wikimedia Commons |
The miniature artists of the Mughal era focused their attention on beauty.
They were much more attentive to the intricacies of the designs of jewels and
drapes, sometimes forgetting the factor of realism that they considered less
important.
Persian painters of the miniature style used an upright format and general setting with an emphasis on a flat aerial perspective.
The Mughal era artists applied naturalism in their work and tried to depict the
detailed observation of the world in its immediate surroundings. The keen observation
of the above painting would prove this changed perspective.
Mughal Court Paintings provide us with invaluable
information about the life and times of rulers of the period. The paintings
also reflect the contemporary social and political conditions of the people.
Social customs and courtly customs as depicted in these paintings refer to the
social hierarchy, too. In some of the paintings, there is a presence of foreign
ambassadors. That depiction tells us that the Mughal rulers had active trade
relations with other countries.
The Style of Painting used in these miniatures shows technical
advancement, particularly in the fine brushwork. One can see that in some of
the paintings of this era, the compositions are less crowded and the colours
used are more subdued. From examinations of the actors and characters seen
within the frame, we can observe that their movement is much less dynamic. In
the plate given below, the painting represents an image on a flat plane that
results in a strong two-dimensional design.
The period of the three emperors of the Mughal dynasty is considered the golden period
for miniature paintings. These three Emperors were Akbar
(1556-1605), Jahangir (1605-27) and Shah Jahan (1628-58).
Emperor Akbar was deeply interested in cultural issues, so he helped artists in the fields of painting and music. He had arranged employment for more than one hundred miniature painters. These artists illustrated texts like Babarnama and Akbarnama. They have also illustrated the books of the Hindu religion, and the scriptures like the Ramayana and the Mahabharata.
India was a much wider
country than it is today, and the Mughal Empire covered most of Northern India
and some regions in present-day Pakistan and Afghanistan.
In the time of Akbar’s reign, the Mughal Miniature painting was secular
art, dealing with court life, durbar scenes and portraits of royal men and
women. They have also painted natural subjects like birds, flowers, animals and
forest scenes. However, the assistants’ preference was tilted towards depicting
the hunting scenes and other daily life scenes of the kings and the princes. It
was also customary for the Mughal Miniature painters to paint the flora and
fauna and love scenes.
This painting depicts a shepherd girl, whose name is Radha. From this
painting, we can see the Indian costumes and the lifestyle of women during
the seventeenth century and the medieval period. [All the images depicted here are in the Public Domain, taken from Wikimedia
Commons]
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