The Mughal School of Miniature Painting Class 12 Notes

This page condenses The Mughal School of Miniature Painting — Chapter 3 of the Class 12 Fine Art textbook An Introduction to Indian Art — Part II — into revision-ready notes. The chapter traces Mughal miniature painting chronologically from Babur’s arrival in 1526 to Bahadur Shah Zafar’s exile in 1857, then explains how the paintings were made, and closes with five masterpieces studied in detail.

Everything on this page follows that same order.

These notes follow the rationalised NCERT for the 2026-27 session. Read the emperor sections in order, memorise from the tables, and finish with the model answer — if you can describe one painting completely in your own words, you have the skill the chapter is really teaching.

Keep the official NCERT PDF of An Introduction to Indian Art — Part II open alongside so you can check the colour reproductions the text refers to.

This page is part of the Fine Art Class 12 notes index inside the wider Class 12 notes collection.

The Mughal School of Miniature Painting: What Makes It Different

Mughal miniature painting is the miniature style of the northern Indian subcontinent that developed in the sixteenth century and continued till the mid-nineteenth century, known for sophisticated techniques and a diverse range of subjects (NCERT, p. 35). It inspired and resonated in the schools that followed it, which is why it holds a definite position inside the Indian schools of painting.

The chapter studies the art through the dynasty’s political history and genealogy — because each Mughal successor, according to his taste, added to calligraphy, painting, architecture, bookmaking and book illustration (NCERT, p. 35). Three facts explain how the school worked:

• The atelier: a formal workshop of calligraphers, painters, gilders and binders, with many artists brought from Iran, especially in the early years (NCERT, p. 36).
• The audience: paintings were made for royal eyes only, as parts of manuscripts and albums (NCERT, p. 36).
• Not a vacuum: the style grew from direct interaction with pre-Mughal and contemporaneous Indian and Persian schools — including the Rajasthani schools of painting, whose notes you can revise alongside this chapter.

At its peak the school’s blend of Islamic, Hindu and European aesthetics outshone the conventional Indian and Iranian painting of its time (NCERT, p. 35). The chapter also contrasts the Mughal style with the indigenous Indian painting of the same period — the visual differences below are the ones to memorise (NCERT, p. 36).

The Mughal artists’ favourite themes were royal court scenes, portraits and accurate depictions of flora and fauna (NCERT, p. 36).

Babur and Humayun: The Persian Foundation (1526–1556)

Babur (1526–1530): the memoirist emperor

• Arrived in India in 1526 from present-day Uzbekistan; a descendant of Timur and a Chagtai Turk who blended Persian and Central Asian sensibilities (NCERT, p. 37).
• A man of letters and a keen patron of art, manuscripts, architecture and gardening (NCERT, p. 37).
• The Baburnama, his autobiography, records his political career and artistic passion, including his outsider’s love for the Indian land and ecology. It established a memoir tradition his successors followed (NCERT, p. 37).
• He had a keen eye for portraiture and named two painters in his memoirs: Bihzad and Shah Muzaffar (NCERT, p. 37).

Humayun (1530–1556): the exile who imported Persian painting

• Succeeded Babur in 1530 but was dethroned by the Afghan Sher Khan (Sher Shah) and took refuge with the Safavid ruler of Persia, Shah Tahmasp (NCERT, p. 38).
• In exile he witnessed Persian miniature manuscripts and was thrilled by the skill of Tahmasp’s artists at work (NCERT, p. 38).
• With Tahmasp’s help he established his court at Kabul in 1545 (NCERT, p. 38).
• He invited two Persian master artists — Mir Sayyid Ali and Abd us Samad — both famous and respected for portraiture (NCERT, p. 38).
• He founded the Nigaar Khana, a painting workshop that was part of his library (NCERT, p. 39).
• He began the Hamza Nama illustration project, later completed by Akbar (NCERT, p. 39).

The first masterpiece: Princes of the House of Timur (1545–50)

• Probably by Abd us Samad, in opaque watercolour on cotton (NCERT, p. 39).
• Its surprising size and complex structure display historical portraits of the dynasty (NCERT, p. 39).
• Portraits of Akbar, Jahangir and Shah Jahan were later painted over the originals to add successive members of the line (NCERT, p. 39).
• Its format, theme, figures and colour palette are remarkably Persian — there is still no dominant Indian element (NCERT, p. 39).

Akbar (1556–1605): The Emperor Who Built the Imperial Atelier

Akbar’s court historian Abul Fazl recorded that more than a hundred artists — the most skilled Persian and indigenous Indian painters of the time — were employed in the royal atelier. This Indo-Persian mix produced a unique style (NCERT, p. 39).

Akbar, believed to be dyslexic, laid great emphasis on illustrated manuscripts, which is why so many translation-and-illustration projects were undertaken under him (NCERT, pp. 39-40).

Hamza Nama (1567–82): the grandest project

• An illustrated account of the heroic deeds of Hamza, uncle of the Prophet Muhammad, a character much loved in Middle Eastern popular and intellectual circles (NCERT, p. 40).
• The large format existed because a professional narrator read the text aloud while the corresponding painted folio was held up for view (NCERT, p. 40).
• Cloth base with paper at the back; painted in gouache — water-based, opaque colours (NCERT, p. 40).
• The numbers to know: 14 volumes, 1400 illustrations, nearly 15 years, completed under the supervision of Mir Sayyid Ali and Abd us Samad (NCERT, p. 40).

Spies of Hamza attack the City of Kaymar (1567–82) is the chapter’s example from the series. Its sharply cut and divided space makes the narrative easy to read visually; vibrant colours energise the crowded action; a strong outer line defines the foliage; faces appear mostly in profile with some three-quarter views.

The patterns on the floor, columns and canopy came from Persian sources, as did the four-limbed animals and rocks, while the trees, creepers and the palette of pure yellows, reds and browns came from Indian sources (NCERT, p. 41).

Akbar’s manuscript projects

Artists Govardhan and Miskin were celebrated for their court scenes, and Akbar personally engaged with, supervised and evaluated artworks. His subjects ranged over political conquests, court scenes, secular texts, portraits of important men, Hindu mythologies, and Persian and Islamic themes (NCERT, p. 41).

Madonna and Child: the first European wave

• A small but important early work in opaque watercolour on paper. The chapter’s text dates it 1580; the caption credits Basavan and dates it 1590 — the book itself carries both dates (NCERT, p. 42).
• It brings Byzantine, European classical and Renaissance art into the Mughal atelier and translates them into an entirely different visual experience (NCERT, p. 42).
• The mother–child attachment echoes the humanist interpretation of the European Renaissance, while details such as the fan and jewellery integrate the scene into an Indian milieu (NCERT, p. 42).

Jahangir (1605–1627): Naturalism, Albums and the Wonder of the Age

As Prince Salim, Jahangir showed interest in art from an early age and set up his own atelier beside Akbar’s. He employed the Iranian painter Aqa Riza and his son Abul Hasan (NCERT, p. 42). The name Jahangir means ‘World Seizer’.

His memoirs, the Tuzuk-i-Jahangiri, record his pursuit of scientific correctness in the rendering of flora and fauna; under him Mughal painting achieved naturalism and scientific accuracy of the highest degree (NCERT, p. 42).

His patronage changed the atelier’s rhythm:

• Fewer works of better quality by a single master artist replaced Akbar-era mass production (NCERT, pp. 42-43).
• Muraqqas — individual paintings mounted in albums — became popular; their margins were illuminated in gold and embellished with flora, fauna and poised human figures (NCERT, p. 43).
• Lavish court scenes, aristocracy, royal personalities and character traits overtook Akbar’s war scenes and storytelling (NCERT, p. 43).
• European gifts and Christian themes brought spatial depth and naturalistic life into the Indo-Iranian style, making the atelier a melting pot of indigenous, Persian and European idioms (NCERT, p. 43).

Shah Jahan to Aurangzeb: Idealisation, Dara Shikoh and the Decline (1628–1707)

Shah Jahan (1628–58): perfection over nature

• He inherited not only a politically stable empire but also the finest artists of the atelier (NCERT, p. 45).
• He preferred idealisation and stylisation over naturalistic accuracy (NCERT, p. 45).
• His style used jewel-like colours, perfect rendering and intricate fine lines, creating images built for multiple interpretations (NCERT, pp. 45-46).
• Imperial portraits carried glorious titles; his love of jewels and monumental architecture shaped the majestic image he wanted to leave behind (NCERT, p. 46).

The Padshahnama (The Chronicles of the King) is one of the most exuberant court projects of his atelier, showing multiple perspectives, an enchanting palette and sophisticated compositions for royal, historical and mystic subjects (NCERT, p. 46).

The school’s world standing is visible from outside India too: Rembrandt made studies of Indian drawings to master delicate lines — evidence of the position Mughal miniature painting held in the world art scene (NCERT, p. 46).

Dara Shikoh with Sages in a Garden (1635)

• Painted by Bichitra. The text dates it 1635, while the caption says ‘early seventeenth century’ — both appear in the chapter (NCERT, p. 46). Collection: Chester Beatty Library, Dublin (NCERT, p. 46).
• Dara Shikoh was a liberal, unorthodox Mughal devoted to Sufi mysticism and the Vedantic school of thought, and a scholar of many languages, including Sanskrit (NCERT, p. 46).
• He was defeated by his brother Aurangzeb in the war of succession (NCERT, p. 47).

Aurangzeb (Alamgir, 1658–1707): the atelier that survived

• Aurangzeb focused on the expansion and unification of the empire and on the Deccan; he did not put much effort into elevating atelier production (NCERT, p. 47).
• Contrary to popular belief, the royal atelier was not shut down immediately and continued producing beautiful paintings (NCERT, p. 47).

Later Mughal Painting: The Last Flickers of the Candle (1707–1857)

• As patronage declined, skilled artists left the Mughal atelier and were welcomed by provincial Mughal rulers, who imitated Mughal taste and wanted to recreate the glory of their own dynasties and courts in paint (NCERT, p. 47).
• Some masterworks still appeared under Muhammad Shah Rangila, Shah Alam II and Bahadur Shah Zafar — the last flickers in the candle of the Mughal miniature style (NCERT, p. 48).
• Bahadur Shah Zafar, the last Mughal ruler, was also a poet, scholar and connoisseur. His portrait is dated 1838 — about two decades before the British exiled him to Burma after the failure of the Indian Revolt of 1857, wanting no claimant to Mughal authority near Delhi (NCERT, p. 48).
• The style eventually converged into the Provincial and Company Schools (NCERT, p. 48). Regional courts such as the Deccani schools of painting had run a parallel course — compare those notes to see how the Mughal idiom dissolved into regional hands.

Key Terms of Mughal Painting: A Definitions Table

These are the terms you must be able to define in your own words while answering the chapter’s questions.

How a Mughal Miniature Was Made: Process, Colours and Technique

Mughal miniatures lived inside manuscripts and royal albums, so the page was built before the painting (NCERT, p. 48).

1. Sheets of handmade paper were prepared and cut to the manuscript’s size, leaving a space for the visual composition (NCERT, p. 48).
2. The pages were ruled and filled with text (NCERT, p. 48).
3. The artist composed a synoptic visual representation of the text (NCERT, p. 48).
4. The work then passed through three stages in a fixed order: tarh (making the composition) → chiharanama (portraits) → rangamizi (final colouring) (NCERT, p. 48).

Memory device for the three stages. Connect each stage to a word you already know: tarh is the plan or design you draw first; chiharanama deals with faces (chehra means face); rangamizi adds rang (colour). The order is locked: Plan → Face → Colour. If you remember that a face sits between the plan and the colour, the sequence cannot slip.

Colours and technique

• Colours were opaque and obtained from natural sources by grinding and mixing pigments for perfect shades (NCERT, p. 48).
• Brushes were made from the hair of squirrels or kittens (NCERT, p. 48).
• Production was teamwork: draft drawing, grinding and filling colours, and adding details were distributed among artists; single-handed production also occurred (NCERT, pp. 48-49).
• Records show artists received incentives and salary increments according to the work done (NCERT, p. 49).
• Finally, agate, a gemstone, was used to burnish the finished painting — setting the colours and giving the work its radiance (NCERT, p. 49).

Key Dates and Numbers to Memorise

These dates are the factual skeleton of the chapter — treat them like formulas.

Quantities worth memorising: more than a hundred artists in Akbar’s atelier (NCERT, p. 39); 14 volumes, 1400 illustrations and nearly 15 years for Hamza Nama (NCERT, p. 40); 169 paintings in Razm Nama (NCERT, p. 41).

The Five Masterpieces the Chapter Studies in Detail

These five paintings close the chapter, so each deserves a complete, self-written description — identity, subject and style.

1. Noah’s Ark (p. 50)

• Identity: from a dispersed Divan-i Hafiz manuscript of 1590; ascribed to Miskin, a master of Akbar’s atelier; Freer Gallery of Art, Smithsonian Institution (NCERT, p. 50).
• Subject: Prophet Noah in the ark, carrying animals in pairs so they could flourish after the threatening flood God sent to punish human sin; the sons of Noah throw out Iblis the devil, who had come to destroy the ark (NCERT, p. 50).
• Style: a subdued palette of pure white with subtle reds, blues and yellows; the rendering of water is convincing, and vertical perspective adds heightened dramatic energy (NCERT, p. 50).

2. Krishna Lifts Mount Govardhan (pp. 51-52)

• Identity: from a dispersed Harivamsa Purana; attributed to Miskin (1585-90); Metropolitan Museum of Art, New York (NCERT, p. 51).
• Context: the Sanskrit text was translated into Persian by Badauni, a noble famous for orthodox religious views — quite unlike Abul Fazl (NCERT, p. 51).
• Subject: Krishna lifts Mount Govardhan like a huge umbrella to shelter the villagers and their livestock, his followers, from the torrential rain sent by the god Indra (NCERT, p. 51).

3. Falcon on a Bird Rest (p. 52)

• Identity: by Ustad Mansur, who held the title Nadir ul Asr from Jahangir; dated 1615; Cleveland Museum of Art (NCERT, p. 52).
• Context: Jahangir kept fine falcons and had them painted; these images went into his official biography, the Jahangirnama. The chapter recounts a falcon sent by Shah Abbas that was mauled by a cat and died — the emperor had the dead falcon painted to preserve its memory (NCERT, p. 52).

4. Zebra (p. 53)

• Identity: by Ustad Mansur; the zebra was presented during the Nowruz festival in March 1621 (NCERT, p. 53).
• Provenance: the zebra came from Ethiopia, was brought by the Turks, and was presented to Jahangir by the nobleman Mir Ja’far (NCERT, p. 53).
• Significance: Jahangir’s Persian inscription recorded the animal’s origin; he noted that some thought it was a horse with painted stripes. He sent the zebra on to Shah Abbas of Iran, with whom he exchanged rare gifts (NCERT, p. 53).
• Later history: the painting passed into Shah Jahan’s royal album; its ornate borders are Shah Jahan-period additions (NCERT, p. 53).

5. The Marriage Procession of Dara Shikoh (p. 54)

• Identity: by Haji Madni; belongs to the Shah Jahan period; National Museum, New Delhi (NCERT, p. 54).
• Subject: Dara Shikoh, Shah Jahan’s eldest son, rides a brown stallion wearing the traditional sehra, accompanied by Shah Jahan on a white horse with a resplendent nimbus around his head (NCERT, p. 54).
• Atmosphere: music, dance, gifts and fireworks convey the pomp and glamour of the marriage procession (NCERT, p. 54).

Every Painting in the Chapter at a Glance

Complete recall table of every painting named in the chapter — artist, date, source, collection and one defining feature.

For the caption-only works — Tutinama, Babur inspecting the fort of Gualior, and A Prince and a Hermit — the chapter gives just the caption facts above, so keep your answers limited to what is actually provided.

Every artist named in the chapter

The exercise on listing Mughal court artists needs every name the chapter gives; this table gathers them.

Model Answer: How to Describe a Mughal Painting

The whole chapter teaches one transferable skill: arranging the facts of a painting into a complete answer. Use this six-point description frame:

1. Identity — title, artist, date, patron or manuscript.
2. Collection — the museum or album that holds it.
3. Subject — the story or event shown.
4. Composition and figures — layout, placement, portraits, action.
5. Colours, technique and stylistic markers — medium, palette, line, perspective.
6. Influences, symbolism and significance — styles that fed it, symbols it carries, why it matters.

Worked sample: Zebra (NCERT, p. 53)

(1) Identity. This paper is about a zebra, painted by Ustad Mansur, who held the title Nadir ul Asr (‘Wonder of the Age’) granted by Jahangir. The animal was presented during the Nowruz festival of March 1621, so the work dates to that moment.

(2) Collection. The painting later entered Emperor Shah Jahan’s royal album of paintings and calligraphies, and its ornate borders are Shah Jahan-period additions. The chapter names no present-day museum for it.

(3) Subject. A zebra from Ethiopia, brought by the Turks and presented to Jahangir by the nobleman Mir Ja’far.

(4) Composition and figures. The zebra is the single subject of the painting. Jahangir’s Persian inscription records it as ‘a mule which the Turks (rumiyan) in the company of Mir Ja’far had brought from Ethiopia [Habesha]’, and the emperor noted that some thought it was a horse on which someone had painted stripes.

(5) Technique. Mansur’s exact rendering embodies the scientific naturalism Jahangir demanded in flora and fauna.

(6) Significance. Jahangir decided to send the zebra to Shah Abbas of Iran, with whom he exchanged rare and unique gifts. The painting therefore records the emperor’s curiosity, the court’s scientific record-keeping, and Mughal diplomatic gift culture.

Applying the same frame.

Jahangir’s Dream (NCERT, pp. 44-45) organises neatly: identity — Abul Hasan, 1618-22, titled Nadir al Zaman; collection — Smithsonian Institution; subject — the emperor’s dream of his Safavid rival Shah Abbas, who held Qandahar; composition — both kings on a globe over India and the Middle East, with a lion beneath Jahangir and a sheep beneath Shah Abbas; symbols — the sun-and-moon halo held by two winged angels, an incoming European motif; significance — political fantasy painted at the emperor’s command.

This is a skill demonstration, not a substitute for your own answers — but if you can rebuild any painting from these six points in your own words, you are ready for any description question in the chapter.

Common Mistakes in Mughal Painting Answers

The rule to keep the two titles apart. Both translate as ‘Wonder of the Age’, which is exactly why they get swapped.

Two anchors fix them: the dream painter Abul Hasan received Nadir al Zaman (NCERT, p. 45); the animal painter Ustad Mansur received Nadir ul Asr — and the Zebra’s own description calls him ‘Nadir ul asr (Wonder of the Age) Ustad Mansur’ (NCERT, p. 53).

Think it through each time: the Zebra and the Falcon belong to Mansur, so the A-title (ul Asr) belongs to the animal master; the Dream belongs to Abul Hasan, so the Z-title (al Zaman) belongs to the dream’s painter.

Approaching the Textbook Exercises: A Strategy for Each Question

The chapter closes with four exercises and one project (NCERT, p. 49). These strategies plan each answer; write the final response in your own words and keep your claims to what the chapter actually gives.

Q1: Two master artists invited by Humayun and their masterpieces

The two artists are Mir Sayyid Ali and Abd us Samad, both brought in for their skill in portraiture (NCERT, p. 38). For ‘masterpieces’, build the answer from the material the chapter attaches to them: the Hamza Nama they supervised for Akbar (NCERT, pp. 40-41) and Princes of the House of Timur, probably by Abd us Samad (NCERT, p. 39).

A complete answer names the artists, says why Humayun invited them, and describes at least one work linked to each, with date, technique and visual features.

Q2: Your favourite art project under Akbar

This is a choice question, so your reasons matter. Solid choices with grounded grounds: Hamza Nama for its sheer scale (14 volumes, 1400 illustrations); Razm Nama for cultural integration (Persian translation of the Mahabharata); Akbar Nama as an expensive biographical project; or Madonna and Child for its European fusion. State your choice and at least two specific reasons drawn from the chapter.

Q3: A comprehensive list of Mughal court artists with one painting each (100 words)

Work from the artist table above — it gathers every name the chapter provides. Be honest about a limit in the source: the textbook does not attach a painting to every name (Aqa Riza, for instance, has none named), so an answer must work only with what the chapter actually provides and must not invent works.

Q4: Three paintings showing indigenous, Persian and European elements

Three grounded candidates: Spies of Hamza attack the City of Kaymar — Persian patterns on floor, columns and canopy plus four-limbed animals and rocks, alongside Indian trees, creepers and the palette of pure yellows, reds and browns (NCERT, p. 41); Madonna and Child — European Renaissance humanism translated into an Indian milieu through the fan and jewellery (NCERT, p. 42); Jahangir’s Dream — European winged angels and the sun-and-moon halo within an Indo-Persian court context (NCERT, pp. 44-45).

The chapter’s Project for Students (NCERT, p. 49) asks you to make a manuscript of five quotations with calligraphy and ornate borders — a hands-on practice activity rather than a written-answer question.

One Page Revision Recap

Emperor by emperor — the backbone of the chapter.

Emperor-order mnemonic. Big Hearts Always Justly Serve Art gives the initials B-H-A-J-S-A — Babur, Humayun, Akbar, Jahangir, Shah Jahan, Aurangzeb. After Aurangzeb, the chapter adds the later rulers Muhammad Shah Rangila, Shah Alam II and Bahadur Shah Zafar, whose works were the style’s last flickers (NCERT, p. 48).

The three influence strands that wove the style together:

• Indigenous Indian: native artists, the flat perspective that Mughal optical reality replaced, Indian flora and fauna, and the palette of pure yellows, reds and browns (NCERT, pp. 36, 41).
• Persian: the two master artists from Iran, patterned floors, columns and canopies, four-limbed animals and rocks (NCERT, pp. 38, 41).
• European: Renaissance humanism in Madonna and Child, spatial depth, and the winged angels and sun-and-moon halo of Jahangir’s Dream (NCERT, pp. 42, 44).

The process chain: handmade paper → ruled pages and text → tarh → chiharanama → rangamizi → agate burnishing (NCERT, p. 48).

The numbers that anchor the chapter: more than a hundred artists under Akbar (NCERT, p. 39); Hamza Nama — 14 volumes, 1400 illustrations, about 15 years (NCERT, p. 40); Razm Nama — 169 paintings (NCERT, p. 41). If you are revising across subjects too, the whole CBSE notes library is organised class-wise.

Frequently Asked Questions

What are the main features of the Mughal School of miniature painting?

The school produced miniatures in the northern Indian subcontinent from the sixteenth to the mid-nineteenth century with sophisticated techniques and a wide range of subjects (NCERT, p. 35).

Its defining features: a synthesis of indigenous, Persian and later European styles (NCERT, p. 35); the atelier system of calligraphers, painters, gilders and binders (NCERT, p. 36); paintings meant for royal eyes only, inside manuscripts and albums (NCERT, p. 36); subtlety and finesse with almost three-dimensional figures and optical reality (NCERT, p. 36); and favourite themes of court scenes, portraits and accurate flora and fauna (NCERT, p. 36).

Which two Persian artists did Humayun invite to India, and why does it matter?

Mir Sayyid Ali and Abd us Samad, both respected for their skill in portraiture (NCERT, p. 38).

It matters because they staffed the Nigaar Khana (NCERT, p. 39), supervised the great Hamza Nama project (NCERT, pp. 40-41), and their Persian idiom shaped early Mughal painting — Princes of the House of Timur, probably by Abd us Samad, still shows no dominant Indian element (NCERT, p. 39).

Why is Jahangir’s period known for naturalism in Mughal painting?

The Tuzuk-i-Jahangiri records his effort to achieve scientific correctness in rendering flora and fauna (NCERT, p. 42). He preferred fewer, finer works by a single master artist rather than mass production (NCERT, pp. 42-43), and this is the reign that produced the naturalistic studies of Abul Hasan and Ustad Mansur, including the Falcon and the Zebra (NCERT, pp. 42, 52-53).

Why did the Mughal School of miniature painting decline?

The gradual decline of patronage drove skilled artists away to provincial Mughal courts, where rulers imitated Mughal taste and commemorated their own dynasties (NCERT, p. 47).

Under Muhammad Shah Rangila, Shah Alam II and Bahadur Shah Zafar only occasional masterworks appeared — the last flickers in the candle of the style — and it eventually converged into the Provincial and Company Schools (NCERT, p. 48).

Did Aurangzeb shut down the Mughal painting atelier?

No. Contrary to popular belief, the royal atelier was not shut down immediately and continued producing beautiful paintings (NCERT, p. 47). Aurangzeb’s focus was the expansion of the empire and the Deccan; he simply did not invest in elevating the atelier’s output.

Which paintings from this chapter are described in detail for study?

Five masterpieces close the chapter: Noah’s Ark (NCERT, p. 50), Krishna Lifts Mount Govardhan (NCERT, p. 51), Falcon on a Bird Rest (NCERT, p. 52), Zebra (NCERT, p. 53) and The Marriage Procession of Dara Shikoh (NCERT, p. 54). Earlier works such as Jahangir in Darbar, Jahangir’s Dream and Jahangir Enthroned on an Hourglass are also described in detail inside their emperor sections above.

Reference: NCERT Class 12 Fine Art textbook, chapter The Mughal School of Miniature Painting.

Official source: download the NCERT textbook free from ncert.nic.in.