Mughal (Akbar), 1596
Designer: Basawan; colorist: Nand Gwaliori

From the Nasli and Alice Heeramaneck Collection

Gift of Paul Mellon 68.8.53 This page is from Akbar’s copy of the Chinghiz-nama (The His-tory of Genghis), a portion of the Jami al-Tawarikh (History of the World) by the Islamic stateman and historian Rashid al-Din (1247-1318). Amid the sound of trumpets, drums, and cymbals, the troops of Hulagu Khan-the grandson of Genghis Khan-advance to the Persian fort of Alamut after its surrender on December 15, 1256. Inside the citadel, the conquerors tear down the walls with pickaxes.

On the ramparts above the gates, Hulagu Khan stands dressed in armor, holding his finger to his mouth. (“Hulagu Khan went up to look at Alamut and from the greatness of the mountain, astonished, he took the finger of surprise in his teeth,” says the text.) The picture, organized into three planes linked by the diagonal movement of the troops, reveals the Mughal interest in naturalism and precise visual observation.

An inscription on this leaf, probably written by a court librarian, attributes its design to Basawan, one of Akbar’s most important painters, and its coloring to Nand Gwaliori, a lesser Mughal painter. Such shared work was common in Akbar’s workshop. Each book or album project was directed by a master artist, who selected the text to be illustrated and supervised the painters. In some cases, work was shared: a master artist sketched the design; a lesser or younger painter colored it; and either the de-signer or a third artist drew the important portraits.