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Mughal painting is an art form that originated in Southeast Asia. It is an art form that is closely associated with the Mughal Empire that stretched across the north Indian region. It originated from Persian miniature painting. These small-format works are closely connected with the Persian world of legends and fairy tales. Miniature paintings accompany literature and support the telling of a story. They are illustrations that are extraordinarily artistically crafted and tell the stories more intensely than European book illustrations do. Clear geometric shapes and intense colors bring the debauched art of storytelling to paper. The paper and inspiration for Persian miniature painting came to Iran from China. Therefore, the basic outlines for the illustrations probably go back to Chinese painting. At the court of the Mughal Empire, Persian miniature painting developed into its own art form between the 16th and 18th centuries. The classical mode of representation as book illustration has been preserved, but was extended by the independence of the pictures. The Mughal emperors were interested in realistic illustrations in addition to depicting subjects with literary references. Portraits, animals and plants were among the most popular subjects. And although the classical works of Indian literature continued to be elaborately embellished, artists increasingly painted scenes of life at court and in the imperial environment. An elevated vantage point was chosen for perspective, a convention that presumably had a cultural origin.
One of the favorite pastimes of the Mughal emperors was writing diaries and memoirs. Miniature paintings complemented the texts of imperial life. Collective works with personal and individual content were created, the design of which is unique. In addition to the diaries, albums with portraits were created. Portraits were allowed of the magnate's personal environment. The design was subject to strict rules. The portrayal was done in strict profile, the upper part of the body was turned towards the viewer. The role of women in portraiture is controversial. It is clear that men were portrayed much more frequently than women. Concubines and servants were allowed to accompany the portrait, but not be the defining subject. Scholars suggest that there were female depictions of close relatives of the emperor, but that these rarely survived.
Mughal painting is a combination of art movements of foreign countries and Indian art styles. The tradition of framing the paintings with borders was adopted from Persian miniature painting. Richly ornamented bands supplemented with characters surround the central motif, but are replaced in many reproductions by real framing. The style of painting developed by the Mughals spread rapidly. Other Indian courts adopted the art form and supplemented it with Hindu religious motifs. An almost iconic expression developed in portraiture. In particular, the portrayal of rulers became more exalted, reflecting the emperors' desire to have a divine status on earth. From the original Mughal painting developed regionally influenced differences that are fondly referred to as the post-Mughal style.
Mughal painting is an art form that originated in Southeast Asia. It is an art form that is closely associated with the Mughal Empire that stretched across the north Indian region. It originated from Persian miniature painting. These small-format works are closely connected with the Persian world of legends and fairy tales. Miniature paintings accompany literature and support the telling of a story. They are illustrations that are extraordinarily artistically crafted and tell the stories more intensely than European book illustrations do. Clear geometric shapes and intense colors bring the debauched art of storytelling to paper. The paper and inspiration for Persian miniature painting came to Iran from China. Therefore, the basic outlines for the illustrations probably go back to Chinese painting. At the court of the Mughal Empire, Persian miniature painting developed into its own art form between the 16th and 18th centuries. The classical mode of representation as book illustration has been preserved, but was extended by the independence of the pictures. The Mughal emperors were interested in realistic illustrations in addition to depicting subjects with literary references. Portraits, animals and plants were among the most popular subjects. And although the classical works of Indian literature continued to be elaborately embellished, artists increasingly painted scenes of life at court and in the imperial environment. An elevated vantage point was chosen for perspective, a convention that presumably had a cultural origin.
One of the favorite pastimes of the Mughal emperors was writing diaries and memoirs. Miniature paintings complemented the texts of imperial life. Collective works with personal and individual content were created, the design of which is unique. In addition to the diaries, albums with portraits were created. Portraits were allowed of the magnate's personal environment. The design was subject to strict rules. The portrayal was done in strict profile, the upper part of the body was turned towards the viewer. The role of women in portraiture is controversial. It is clear that men were portrayed much more frequently than women. Concubines and servants were allowed to accompany the portrait, but not be the defining subject. Scholars suggest that there were female depictions of close relatives of the emperor, but that these rarely survived.
Mughal painting is a combination of art movements of foreign countries and Indian art styles. The tradition of framing the paintings with borders was adopted from Persian miniature painting. Richly ornamented bands supplemented with characters surround the central motif, but are replaced in many reproductions by real framing. The style of painting developed by the Mughals spread rapidly. Other Indian courts adopted the art form and supplemented it with Hindu religious motifs. An almost iconic expression developed in portraiture. In particular, the portrayal of rulers became more exalted, reflecting the emperors' desire to have a divine status on earth. From the original Mughal painting developed regionally influenced differences that are fondly referred to as the post-Mughal style.