Match the Mughal rulers in List- I with the artists associated with their court in List- II :

(A)-(IV), (B)-(III), (C)-(II), (D)-(I)

The correct answer is Option 2- (A)-(IV), (B)-(III), (C)-(II), (D)-(I)

Babur had a keen eye for portraiture and this is also recorded in his memoirs. Among the artists, who find mention in Babur’s memoirs is Bihzad. Bihzad’s work was dainty but he did not draw the faces well; he used to greatly lengthen the double chin (ghab-ghab); and drew bearded faces admirably. Bihzad was a master artist from the Persian school of painting, Herat (now in present day Afghanistan), and was known for his sophisticated compositions and colour tints.

Humayun increasingly identified himself with a political and cultural agenda for his dynastic empire that was eclectic and assimilative. Impressed by the artists and with an ambition to recreate such art workshops in India, Humayun brought back with him the master artists when he regained power in India. He invited two Persian artists — Mir Sayyid Ali and Abd us Samad to establish a studio in his court and carry out royal paintings. It is important to note here that both the artists were famous and respected particularly for their skills in the art of portraiture.

Akbar envisioned cultural integration and commissioned translation of several revered Hindu texts. He commissioned translation and illustration of revered Sanskrit texts into Persian. The Persian translation and illustrated version of the Hindu epic Mahabharata done this period came to be known as Razm Nama. This was completed in 1589 under the supervision of master artist Daswant. This manuscript was scribed in ornate calligraphy and contained 169 paintings. The translation and illustration of the Ramayana were also carried out around this time. Artists like Govardhan and Miskin were celebrated for their visuals of court scenes.

Jahangir employed Aqa Riza, a well-known Iranian painter and his son Abul Hasan to achieve unparalleled sophistication in painting. Despite the formalised and established imperial atelier of Akbar, the keen patron in Jahangir rebelled to set his own atelier alongside his father’s.