The Mughal Artist As A Naturalist

Accuracy achieved by well defined outlines and the rendering of maximum detail are the chief characteristics of Mughal studies of nature. Attention is paid to the use of pigments that reflect the actual color of the subject.

No one can fail to admire the observation of the artists, which other characteristic of physical features of the various birds and animals include the hair, ears, eyes, tail, fur, or plumage. These are also realistically depicted so that individuals can identify the species at first glance. The artist will paint them after careful study, because their creations are not merely a copy of the external appearance of the animals, but objective illustrations of their mood.

There is a typical conscious enlargement of the figure in proportion to the space is clear. It is the Mughal painter's special way of according dignity to the subject of his painting. Indian art also includes depictions of animals, which are made up of human figures or other elements from throughout nature, which are called composite animals. These images invert the normal Indian approach to interpreting form.

These composites, which are made up of disparate elements such as an animal, human, demon, and so on are found in India from the early Mughal period onward, giving rise to the Mughal label. The painters of the Mughal composites are able to invent composite animals, which may startle us at first, but on close inspection seem so entirely natural. This sheer naturalness of many of these paintings is even more striking than the individual elements.

The playfulness inherent in these paintings may mask some deep intent, but at the same time this playfulness is enough to keep our interest and inspire our admiration. Mughal art also broke new ground in the use and representation of the floral motif in painting. While flowers were a common motif and an integral part of design in Indian art from very early times, it was only with the emergence of the Mughal school that they became subjects of paintings, rather than embellishments.

The first Mughal emperor Babur expresses his love for nature by stating, "My heart, like the bud of the red, red rose, lies fold within fold aflame; would the breath of even a myriad Springs blow my heart's bud to a rose?" His fascination for flowers, especially the rose was so deep that he named his daughters Gul-chihra Begum, Gul-izar Begum, Gul-badan Begum, and Gul-rang Begum.

Mughal flower paintings are typically meticulously drawn twigs with leaves, buds, and flowers, in a variety of arrangement, which are flawless in depiction and fully conforming to the rules of naturalistic study without losing its essential aesthetic appeal. The background is mostly treated plain except for a slight suggestion of aerial perspective with the help of a fine strip across the top, without defining the horizontal line. Total focus is laid on the main subject which suggests the artist's inclination to project it in all its genuine objective form.

In such paintings, in order to enliven the surroundings and capture a certain rhythm of movement, as well as to manage the compositional aspects, the Mughal school prefers to depict birds, butterflies, and other insects hovering over the blossoms. This is done to achieve a greater impact of naturalistic environment through a kind of relational placement of the main object and other minor living things flying in nature. He also introduces through the hovering objects a sort of freedom of movement in the space around a still-life exposure of the main object.

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