Arrange the following artists in chronological order according to their arrival in India.

A. Daswant

B. Abul Hasan

C. Mir Sayyid Ali

D. Ustad Farquirullah Khan

E. Bihzad

Choose the correct answer from the options given below:

E,C,A,B,D

The correct answer is Option 3- E,C,A,B,D

E. Bihzad
C. Mir Sayyid Ali
A. Daswant
B. Abul Hasan
D. Ustad Farquirullah Khan

Daswant was in Akbar's court. 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.

Abul Hasan was in Jahangirs court. The painting ‘Jahangir in Darbar’ from Jahangirnama (now, dispersed), attributed to Abul Hasan and Manohar (1620) is an excellent painting. The painting is currently housed in the Museum of Fine Arts, Boston.

Bihzad was a painter in Babur's court who came to India in 1526. 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.

Mir Sayyid Ali was in Humayun's court. Babur was succeeded by his son Humayun in 1530, who unfortunately fell prey to political unrest, and his life took many unexpected turns. With the assistance of Shah Tahmasp, Humayun established his court in Kabul in 1545. 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.

Ustad Faqirullah Khan was in the court of Shah Jahan.The horizontal painting of Sant Kabir shows him weaving garments on his loom in a meditating mood. Another saint, Raidas sitting close to him is also in the same mood. The painting was painted during Shah Jahan's period. It is the best-documented example of the respect given to religious Saints by the Mughals. On paper, Ustad Faqirullah Khan made this painting in the tempera style. He was the head painter in Shah Jahan's workshop. A simple and peaceful life in the villages was shown in the painting.