Akbarnama by abul fazal image hd

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We also welcome feedback and all articles include a bibliography see below. Composed between and CE, the manuscript consists of folios of text interspersed with illustrated folios and one illuminated frontispiece. Each folio is sized at The text is arranged in twenty lines of text per page, written in nastaliq script. The margins of each folio carry the names of different artists — written in nastaliq script with red ink — involved in the composition, colouring and finishing of each painting.

Abu'l-Fazl ibn Mubarak presenting the

The margins also consist of the folio numbers that may indicate that the original manuscript may have had close to paintings. In some cases the paintings span over an entire spread and depict elaborate scenes such as sieges or hunts, culminating in a total of twenty-eight double-page paintings in the entire manuscript. The Akbarnama is both a unique and representative document of its time.

Unique because, unlike other historical records such as the Baburnama or Tarikh-i-Khandan-i-Timuriya , the Akbarnama was created during the lifetime of Akbar, allowing the creators of this manuscript to be eye-witnesses to his life. In the traditional style of Mughal miniature painting, there was a great collaboration between the artists for the creation of each painting.

It was first composed by a master painter tarah , followed by the colouring which would be done by one of the junior artists or assistants amal or rang amizi , and occasionally a third artist was assigned to paint the faces chehra nami. Thus most paintings in the manuscript are collaborations between different artists except for eleven which are the work of single artists.

Some of the most notable painters of the manuscript include Farrukh Beg, known for his decorative use of landscape and architecture, Miskin for his studies of animal and human figures, Basawan, for his attention to human characterisation and Kesu, known for his portraits.