This exquisite portrait of a princess, attributed to the renowned Mughal artist Manohar, is a significant piece mounted on a royal album page. Manohar, the son of the esteemed artist Basawan, followed in his father’s footsteps, becoming a distinguished figure at Akbar’s Mughal court. Basawan, noted for his exceptional skills, likely led the Mughal studio after the death of Daswant in 1585. Akbar’s adviser and biographer Abu’l Fazl praised Basawan’s talent, particularly in portraiture, in the A’in-i Akbari, a supplement to the Akbarnama (1596-98).
Manohar, born in the 1560s, inherited his father’s artistic prowess and emerged as an outstanding artist, contributing to major Mughal albums and manuscripts from the 1580s onward. By the 1590s, Manohar had developed a mature style of his own, distinct from Basawan’s, as evidenced in his works for the Rampur Diwan of Hafiz (circa 1585) and the British Library Babur-nama (circa 1591). He also gained the patronage of Akbar’s second son, Prince Murad, and created notable works, including a portrait of Prince Murad and his consort around 1597.
Manohar seamlessly transitioned to serving Akbar’s heir, Emperor Jahangir (reigned 1605-1627), accompanying him on an expedition to Ajmer, Mandu, and Ahmedabad (1613-1618). It is possible that Manohar painted this portrait during this expedition. His reputation as a master portraitist continued with works like the portrait of Jahangir, presented to English ambassador Sir Thomas Roe, and three significant portraits in the Kevorkian album at The Metropolitan Museum in New York.
This portrait is a testament to Manohar’s enduring legacy as one of the most important portrait painters in the Mughal atelier until his death in the 1620s.
Dimensions: 21.5cm x 15cm
Imperial Seal & Date on the Reverse
