The emperor Jahāngīr, even as a prince, showed a keen interest in painting and maintained an atelier of his own. His tastes, however, were not the same as those of his father, and this is reflected in the painting, which underwent a significant change. The tradition of illustrating books began to die out, though a few manuscripts, in continuation of the old style, were produced. For Jahāngīr much preferred portraiture; and this tradition, also initiated in the reign of his father, was greatly developed. Among the most elaborate works of his reign are the great court scenes, several of which have survived, showing Jahāngīr surrounded by his numerous courtiers. These are essentially large-scale exercises in portraiture, the artist taking great pains to reproduce the likeness of every figure.

The compositions of these paintings have lost entirely the bustle and movement so evident in the works of Akbar’s reign. The figures are more formally ordered, their comportment in keeping with the strict rules of etiquette enforced in the Mughal court. The colours are subdued and harmonious, the bright glowing palette of the Akbarī artist having been quickly abandoned. The brushwork is exceedingly fine. Technical virtuosity, however, is not all that was attained, for beneath the surface of the great portraits of the reign there is a deep and often spiritual understanding of the character of the person and the drama of human life.

Many of the paintings produced at the imperial atelier are preserved in the albums assembled for Jahāngīr and his son Shāh Jahān. The Muraqqah-e Gulshan is the most spectacular. (Most surviving folios from this album are in the Gulistan Library in Tehrān and the Staatliche Museen Preussischer Kulturbesitz, Berlin; a section is temporarily housed in Tübingen.) There are assembled masterpieces from Iran, curiosities from Europe, works produced in the reign of Akbar, and many of the finest paintings of Jahāngīr’s master painters, all surrounded by the most magnificent borders decorated with a wide variety of floral and geometrical designs. The album gives a fairly complete idea of Jahāngīr as a patron, collector, and connoisseur of the arts, revealing a person with a wide range of taste and a curious, enquiring mind.

Jahāngīr esteemed the art of painting and honoured his painters. His favourite was Abū al-Hasan, who was designated Nādir-uz-Zamān (“Wonder of the Age”). Several pictures by the master are known, among them a perceptive study of Jahāngīr looking at a portrait of his father. Also much admired was Ustād Manṣūr, designated Nādir-ul-ʿAṣr (“Wonder of the Time”), whose studies of birds and animals are unparalleled. Bishandās was singled out by the emperor as unique in the art of portraiture. Manohar, the son of Basāvan, Govardhan, and Daulat are other important painters of this reign.

Mughal style: Shāh Jahān period (1628–58)

Under Shāh Jahān, attention seems to have shifted to architecture, but painting in the tradition of Jahāngīr continued. The style, however, becomes noticeably rigid. The portraits resemble hieratic effigies, lacking the breath of life so evident in the work of Jahāngīr’s time. The colouring is jewel-like in its brilliance, and the outward splendour quite dazzling. The best work is found in the Shāhjahānnāmeh (“History of Shāh Jahān”) of the Windsor Castle Library and in several albums assembled for the emperor. Govardhan and Bichitra, who had begun their careers in the reign of Jahāngīr, were among the outstanding painters; several works by them are quite above the general level produced in this reign.

Mughal style: Aurangzeb and the later Mughals (1659–1806)

From the reign of Aurangzeb (1659–1707), a few pictures have survived that essentially continue the cold style of Shāh Jahān; but the rest of the work is nondescript, consisting chiefly of an array of lifeless portraits, most of them the output of workshops other than the imperial atelier. Genre scenes, showing gatherings of ascetics and holy men, lovers in a garden or on a terrace, musical parties, carousals, and the like, which had grown in number from the reign of Shāh Jahān, became quite abundant. They sometimes show touches of genuine quality, particularly in the reign of Muḥammad Shāh (1719–48), who was passionately devoted to the arts. This brief revival, however, was momentary, and Mughal painting essentially came to an end during the reign of Shāh ʿĀlam II (1759–1806). The artists of this disintegrated court were chiefly occupied in reveries of the past, the best work, for whatever it is worth, being confined to copies of old masterpieces still in the imperial library. This great library was dispersed and destroyed during the uprising of 1857 against the British.

Company school

Rising British power, which assumed political supremacy in the 19th century, resulted in a radical change of taste brought about by the Westernization of important segments of the population. Heavily influenced by Western ideas, a style emerged that represented the adjustment of traditional artists to new fashions and demands. Rooted at Delhi and the erstwhile provincial Mughal capitals of Murshidābād, Lucknow, and Patna, it ultimately spread all over India. Most of the works produced were singularly impoverished, but occasionally there were some fine studies of natural life.

Deccani style

In mood and manner, Deccani painting, which flourished over much of the Deccan Plateau from at least the last quarter of the 16th century, is reminiscent of the contemporary Mughal school. Again, a homogeneous style evolved from a combination of foreign (Persian and Turkish) and Indian elements, but with a distinct local flavour. Of the early schools, the style patronized by the sultans of Bijāpur—notably the tolerant and art-loving Ibrāhīm ʿĀdil Shāh II of Bijāpur, famous for his love of music—is particularly distinguished. Some splendid portraits of him, more lyrical and poetic in concept than contemporary Mughal portraits, are to be found. A wonderful series depicting symbolically the musical modes (rāgamālā) also survives. Of illustrated manuscripts, the most important are the Nujūm-ul-ʿulūm (“The Stars of the Sciences,” 1590; Chester Beatty Library, Dublin) and the Tārīf-e Ḥuseyn-Shāhī (Bharata Itihasa Samshodhaka Mandala, Pune), painted around 1565 in the neighbouring state of Ahmadnagar. The sultanate of Golconda also produced work of high quality—for example, a manuscript of the Dīvān of Muḥammad Qulī Quṭb Shāh in the Salar Jang Library, Hyderābād, and a series of distinguished portraits up to the end of the 17th century (dispersed in various collections). The state of Hyderābād, founded in the early 18th century and headed by a grandee of the Mughal Empire, was a great centre of painting. The work that was produced there reflects both Golconda traditions and increasing Mughal and Rajasthani influences.