NCERT Class 12 Fine Art Chapter 3 The Mughal School of Miniature Painting Solutions to each chapter is provided in the list so that you can easily browse through different chapters NCERT Class 12 Fine Art Chapter 3 The Mughal School of Miniature Painting Notes and select need one. NCERT Class 12 Fine Art Chapter 3 The Mughal School of Miniature Painting Question Answers Download PDF. NCERT Fine Art Class 12 Solutions.
NCERT Class 12 Fine Art Chapter 3 The Mughal School of Miniature Painting
Also, you can read the NCERT book online in these sections Solutions by Expert Teachers as per Central Board of Secondary Education (CBSE) Book guidelines. CBSE Class 12 Fine Art Solutions are part of All Subject Solutions. Here we have given NCERT Class 12 Fine Art Chapter 3 The Mughal School of Miniature Painting Notes, NCERT Class 12 Fine Art Textbook Solutions for All Chapters, You can practice these here.
The Mughal School of Miniature Painting
Chapter: 3
| SHORT QUESTION ANSWER |
1. The Mughal School of Miniature Painting?
Ans: The Mughal School of Miniature Painting is known for its sophisticated aesthetics that developed in the northern region of the Indian subcontinent. From the 16th to the mid-19th century, this school of Indian Art includes calligraphy, book marking, book illustrations apart from miniature paintings.
(ii) Who were the key patrons of the Mughal School of Miniature Painting?
Ans: Akbar, Jahangir as well as Shah Jahan.
(iii) What were the major themes depicted in Mughal miniature paintings?
Ans: The major themes depicted in mughal miniature painting are mentioned below:
(a) Portraits and Court Scenes: Mughal emperors and nobility were often depicted in portraits and scenes of courtly life, showcasing their grandeur, attire, and ceremonial activities.
(b) Historical Events and Battles: Paintings illustrating significant historical events, such as battles, conquests, and royal processions, were common. These paintings served both as records of Mughal military achievements and as expressions of imperial power.
(iv) What techniques and materials were typically used in Mughal miniature paintings?
Ans: The painters in the atelier were also masters of art making colours. Mughal paintings were made on handmade paper, which was prepared especially for this purpose. The colours were opaque and were obtained from natural sources by grinding and mixing pigments to obtain perfect shades of colours. The paint was applied using a variety of brushes made with the hair of squirrels or kittens. In workshops, painting was a combined effort of a group of artists, among whose basic draft drawing, grinding and filling in of colours, and adding details were, usually, distributed. However, they may also have been produced single handedly.
Thus, the artworks produced during the early Mughal phase were collaborative efforts of the team of artists. And based on one’s specialisation, each artist would undertake an aspect of the painting that he was comfortable with or delegated. Records tell us that the artists were given incentives and increments in their salary according to the work done. The recorded names of the master artists also informs of the position that they enjoyed in the royal atelier. Once the painting was complete, agate, a gemstone, was used to burnish the work to set the colours and give desired radiance to the painting.
Some of the pigments and colours achieved from those Were vermilion from cinnabar, ultramarine from Lapis Lazuli, bright yellow from orpiment, shells grounded for making white and lampblack from charcoal. Gold and silver powders were mixed with colours or sprinkled to add extravagance to a painting.
(v) How did the Mughal emperors contribute to the development and preservation of this art form?
Ans: The Mughal emperors significantly contributed to the development and preservation of the Rajasthani schools of painting through their extensive patronage, fostering cultural exchange, and encouraging artistic innovation. Emperors like Akbar, Jahangir, and Shah Jahan employed numerous artists in their courts, creating an environment where Persian, Indian, and European artistic traditions blended seamlessly. This syncretic culture influenced Rajasthani art, as many Mughal-trained artists migrated to Rajput courts, bringing with them refined techniques and new styles. The emperors’ appreciation for detailed and naturalistic depictions, especially under Jahangir’s reign, further shaped the aesthetics of Rajasthani painting. Additionally, the Mughals maintained detailed records and collections of artworks, ensuring the preservation of numerous Rajasthani pieces. Marriages and alliances between Mughal and Rajput families also facilitated cultural and artistic exchanges, enriching the artistic traditions of Rajasthan. Thus, the Mughal emperors played a crucial role in both the evolution and preservation of Rajasthani painting by fostering a vibrant cultural milieu and encouraging the exchange of artistic ideas.
| EXERCISE |
1. Name two master artists, who were invited to India by Humayun, and discuss their masterpieces in detail.
Ans: Two master artists invited to India by Humayun were Mir Sayyid Ali and Abdus Samad. Mir Sayyid Ali, known for his intricate miniature paintings, created masterpieces such as “The Princess of the House of Timur,” showcasing his skill in detailed portraiture and vibrant colour use. His works often depicted courtly scenes and were characterised by their refined elegance and delicate brushwork. Abdus Samad, another eminent artist, was renowned for his contributions to manuscript illustrations, with notable works like the illustrations for the “Hamzanama” (Book of Hamza). This epic project, commissioned by Akbar, comprised over 1,400 large-scale paintings narrating the adventures of Amir Hamza. Abdus Samad’s illustrations are celebrated for their dynamic composition, vivid storytelling, and integration of Persian and Indian artistic elements. Both artists significantly influenced the Mughal art style, blending Persian techniques with Indian themes, which left a lasting legacy on Indian painting traditions, including those of the Rajasthani schools.
2. Out of the several art projects that Akbar undertook, discuss your favourite work, explaining what you like about it.
Ans: As a large language model, I can’t express personal preferences, but I can analyze and highlight the merits of different projects and offer several options for your favorite choice! Here are two of Akbar’s most celebrated works:
1. Fatehpur Sikri: This breathtaking city, carved from red sandstone, embodies Akbar’s vision of religious tolerance and architectural innovation. I admire its harmonious blend of Hindu, Islamic, and Jain influences, its intricate carvings and geometric patterns, and its unique blend of urban planning and natural beauty. Imagine walking through the Buland Darwaza, the tallest gateway in India, or exploring the serene Diwan-i-Khas, adorned with delicate pietra dura work.
2. Akbarnama: This monumental illustrated manuscript documents Akbar’s life and reign in vivid detail. It’s not just a historical record, but a stunning work of art showcasing vibrant colors, dynamic compositions, and exquisite miniature paintings. Imagine immersing yourself in scenes of battles, courtly life, and cultural encounters, brought to life by the masterful brushstrokes of artists like Mir Sayyid Ali and Abd us Samad.
Ultimately, your favorite project will depend on your personal taste and interests. Do you lean towards grand architectural feats or fascinating historical narratives? Consider what resonates with you the most to choose your preferred masterpiece!
3. Make a comprehensive list of artists in the Mughal court, briefly explaining one painting of each in 100 words.
Ans: The Mughal court attracted several notable artists who made significant contributions to Indian art.
Here are a few prominent ones and a brief description of one of their notable paintings:
(i) Basawan: Known for his detailed miniatures, Basawan depicted scenes with vibrant colours and intricate details. One of his famous works is “Emperor Akbar with his Courtiers,” illustrating Akbar’s regal presence amidst his court, showcasing Basawan’s mastery in capturing courtly life and royal grandeur.
(ii) Daswanth: Celebrated for his portraiture and narrative compositions, Daswanth’s “Jahangir Preferring a Sufi Shaikh to Kings” portrays Jahangir’s respect for spiritual wisdom over temporal power, demonstrating Daswanth’s skill in blending realism with symbolic depth.
(iii) Manohar Das: Known for his elegant compositions and delicate brushwork, ‘Manohar Das’ “Akbar’s Darbar” exemplifies courtly opulence and cultural diversity, highlighting Akbar’s inclusive governance and the artist’s ability to depict intricate textiles and expressive faces.
(iv) Govardhan: Renowned for his naturalistic landscapes and detailed flora and fauna, Govardhan’s “Akbar Hunting with Cheetahs” captures the emperor’s love for nature and hunting, showcasing his meticulous rendering of animals and environments, reflecting both the grandeur of the Mughal court and the natural world.
(v) Bishan Das: Noted for his lyrical compositions and refined colour palette, Bishan Das’ “Prince Dara Shikoh with a Holy Man” portrays Dara Shikoh’s scholarly pursuits and spiritual inclinations, illustrating the artist’s ability to convey inner contemplation and cultural synthesis within a harmonious composition.
4. With examples of three paintings of your choice, discuss the indigenous Indian, Persian and European visual elements prevalent during the mediaeval period.
Ans: The indigenous Indian, Persian and European visual elements prevalent during the mediaeval period are mentioned below:
(i) Indigenous Indian Elements:
Example: Ajanta Cave Paintings: The Ajanta cave paintings (2nd century BCE to 5th century CE) exemplify indigenous Indian art with their emphasis on storytelling through vibrant colours, detailed ornamentation, and depiction of Indian mythology and everyday life. The use of natural pigments, such as red and yellow ochre, and the portrayal of graceful figures in dynamic poses reflect classical Indian aesthetic principles.
(ii) Persian Elements:
Example: Persian Miniature from Akbar’s Court: The Persian influence during the Mughal period is evident in miniatures commissioned by Mughal emperors like Akbar. These miniatures, such as “Akbar Hunting with Cheetahs,” feature delicate brushwork, rich colours, and intricate details in costume and architecture. Persian artists brought techniques like fine line work, use of gold leaf, and a focus on courtly scenes and portraits, blending Persian refinement with Indian themes and aesthetics.
(iii) European Elements:
Example: Jesuit European Style Paintings: In the mediaeval period, European influence began with the arrival of Portuguese and later Jesuit missionaries. Paintings from this period, like those found in churches and Jesuit missions, often blend Christian iconography with Indian motifs and techniques. These artworks introduced perspective, chiaroscuro (light and shadow), and a more naturalistic rendering of figures and landscapes, reflecting European Renaissance ideals adapted to Indian contexts.
In summary, mediaeval Indian art reflects a dynamic synthesis of indigenous, Persian, and European visual elements. Indigenous traditions emphasise narrative and symbolism, Persian influences contribute refined techniques and courtly themes, while European styles introduce realism and perspective, marking significant phases in the evolution of Indian visual culture.
