Mughal Painting: The Square Field on Rice

Mughal Painting: The Square Field on Rice
Mughal Painting: The Square Field on Rice

Mughal Painting: The Square Field on Rice

Turning the pages of Mughal history, it is evident that Mughal painting is not only a beautiful accident but also a beautiful addition to the history of Indian painting.

Among the things that came into the hands of the Mughals and came under the auspices of their patronage are the decorations and imagery. Mughal art has gone through many historical stages and reached these stages of development at the hands of many families.

If painting began with the Mongols, the Timurids sprinkled it with their blood, and the Safavid kings of Iran took pride in it.

From the 14th century to the 16th century, Iranian art was limited to painting, as was the practice of decorating books in the courts. During this period, Herat and Bukhara were its centers. The rulers of the Abbasi dynasty promoted this art.

Frequent Mongol invasions hindered the advancement of science and art, political turmoil disrupted the peace of the people, but soon their swords went out of control. Those who had access to art gathered in the courts and then once again Samarkand and Bukhara were filled with art experts.
Babar was a great lover of fine arts. He was very interested in poetry, painting and philosophy. In Tazak Babri, he praised the pen of the famous Iranian painter Behzad. This taste of Babar was hereditary. Like Timur, he was a fan of glory.

Unfortunately, the adventures of life did not give him respite and when it came time to patronize the artists, he responded to the voice of death.

Humayun, like his father Babar, was fond of aesthetics. One day a beautiful little dove came out of nowhere. The emperor ran and captured him, summoned the painters, painted a picture of him and then set him free. During his stay in Iran, Humayun met many famous painters who later came to India at his invitation, and from here a new school of painting was started which later became known as Mughal painting.

Iranian artists performed miracles of painting that would have amazed people if accidents and revolutions had survived time. Mir Syed Ali and Abdul Samad showed a whole field of rice fields with images of athletes and horses, including spectators.
Abdul Samad, with the help of Indian painters, decorated the story of Amir Hamza and received the title of Nadir-ul-Asr from the king. It has a total of 1375 pictures.

Painting was also revived during the reign of King Jalaluddin Muhammad Akbar. Never before had such a large number of Iranian and Indian artists gathered at a court. When two artists of different temperaments came together, their pens became identical and Akbar’s court became the cradle of painting.

It is mentioned in detail in the well-known book of Akbar’s time, the Constitution of Akbari. Akbar entrusted the task of decorating his grandfather’s book Babar Namah to the court painters and promoted the decoration. Razm Nama, Timur Nama, Khumsa Nizami and the decoration of Baharistan are invaluable treasures of Akbari era.
The aesthetic king Jahangir was convinced to look at life in the mirror of beauty and more or less the same was the case with Shah Jahan. Jahangir was very close to wine and jam, so these are the symbols that appear in the paintings of this period.

Gold work was done in Shah Jahan era. Renowned Banarasi historian Prashad Saxena believes that the gold-plating effect in the paintings came under the influence of architecture as Shah Jahan placed great emphasis on gold-plating in the construction of the Taj Mahal.

Like Shah Jahan, his eldest son Dara Shukoh was also a great lover of painting and his marquee is a milestone in Indo-Iranian art.

Aurangzeb was not personally interested in it but the art was discussed among the courtiers. Aurangzeb’s establishment in the Deccan made many people settle in the Deccan. To make money, artists began to create items of public interest to facilitate sales.
Thus a new school of painting was started in the Deccan and the art of painting spread from the court to the masses. Apart from the Deccan, many families of artists set out in different directions, some of whom came to the court of Odh, some to Patna and some to Aurangabad and Hyderabad.

With the decline of the Mughals, Western art began to flourish. In fact, the story of Mughal painting is no less interesting than Indian history.

  • Salma Hussain is an avid cook, expert chef and food historian. His Persian language revealed to him the mysteries of the history of medieval Mughal cuisine. She has also written several books and works as a food consultant with large hotels. Salma Hussain is writing a series of articles for us.

Taj Mahal is a symbol of Mughal looters: BJP leader

Som Sangeet, a senior leader of the ruling BJP in India, has said that the Taj Mahal has no place in India’s history.

The BJP leader said that the Taj Mahal building was built by a king who had massacred Hindus. He termed the Mughal kings of India as ‘looters’ and ‘traitors’.

The statement came a few weeks after the Uttar Pradesh government removed the Taj Mahal from the tourism department’s booklet.

Addressing a rally in Meerut, Som Sangeet said that the Mughal kings Babar, Akbar, Shah Jahan and Aurangzeb were looters and traitors and demanded that their names be erased from the history of India.

He said that Shah Jahan wanted to wipe out all the Hindus of India and building such a ruler could not be a part of Indian history.

Som Sangeet said many people were hurt when the Taj Mahal was removed from the tourism department’s booklet.

Som Sangeet said that history was distorted in previous years and now it is being rectified. According to him, from Lord Rama to Lord Krishna, from Maharana Pratab to Shiv Ji, everyone is being brought to the right place. The killings of Akbar Aurangzeb and Babar are being removed.

His statement was supported by BJP national spokesperson Nation G. “The truth is that Muslim leaders and the Mughals have ruined this country. They have attacked India’s cultural values.”

However, a party spokesperson, Narendra Kohli, termed Som Sangeet’s statement about the Taj Mahal as his personal opinion.

Narendra Kohli said: Taj Mahal is a part of India’s history. The events that have taken place must be seen in the historical context and cannot be erased.

Majlis-e-Ittehad-e-Muslimeen leader and MP Asaduddin Owaisi said in an interview to a private TV channel that what Som Sangeet had said was part of the BJP’s core ideology and to create hatred in the society in view of the elections. Trying to

Asaduddin Owaisi asked whether Mr. Modi would stop waving the Indian flag from the walls of the Red Fort. The Red Fort is also made of traitors. And if the government has a tail, ask UNESCO to remove the Taj Mahal from the list of cultural heritage.

The Taj Mahal is considered to be the most beautiful building in the world and millions of tourists visit India every year.

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