Hassan and Ustad Mansur

Hassan and Ustad Mansur: Jahangir considered Mansur and Abu'l Hasan to be exceptional artists Abu'l Hasan was given the titled of Nadir uz Zaman Several 17th-19th century artists​.

USTAD MANSUR

Ustad Mansur (flourished 1590-1624) was a seventeenth-century Mughal painter and court artist. He grew up during the reign of Jahangir (r. 1605 - 1627) during which period he excelled at depicting plants and animals. He was the earliest artist to depict the dodo in colour, apart from being the first to illustrate the Siberian crane. Towards the end of Akbar's reign, he gained the title of ustad (master) and during the reign of Mughal emperor Jahangir his masterpieces earned him the title of Nãdir-al-’Asr ("Unequalled of the age"). Although largely known for his natural history illustrations, he also portrayed people in various manuscript illustrations.

LIFE AND WORK MANSUR

1 The year of Mansur's birth is unknown. His name was suffixed in some early miniatures as Naqqash, which can refer to an artist, painter, or carver, indicating that he came from a family that was in an artistic profession.

2 Mansur painted at least one hundred flowers from the Kashmir valley during this period. A red tulip from Kashmir is a better-known painting. The identity of the tulip is however debated with competing suggestions that include Tulipa Lanata.

3 Mansur's birds were based on reality. He also created fantasy birds and many of the compositions such as the flowers and insects in the background are juxtapositions created for effect. The most significant paintings, in terms of zoology, are those of the Siberian crane and the dodo. The Siberian crane painting was made well before it was formally described and given a binomial name by Peter Simon Pallas in 1773.

Shah Jahan’s reign saw the art of painting reach its zenith. Portrait paintings become life-like and graceful during his time. Distinct styles of miniature painting, like the Kangra, the Rajasthani and the Deccani, developed. The main theme of the paintings of the Kangra and the Rajasthani schools was devotional. Several paintings illustrate stories about Radha and Krishna, and Krishna and the gopis. The Deccani paintings focused more or court scenes and scenes of battle. During Shah Jahan’s time, gold was also used in paintings. The Rajputs seem to have preferred the miniature style of painting. They also painted the walls of their palaces and havelis.

ABU AL HASSAN

Abu al-Hassan was the son of Aqa Reza of Herat in western Afghanistan a city with an artistic tradition. Aga Reza had taken up employment with Jahangir  before the latter's accession to the throne of the Mughal empire.

Abu al-Hasan was initially trained by the emperor himself in his large studios and workshops but soon surpassed his father and his employer. Jahangir said of him that he had no equal and bestowed the title Nadir-uz-Saman ("Wonder of the Age") on him.

His  works

Abu al-Hasan's main task was the documentation of events at the imperial court, which resulted in many superb portraits. Not many of Abu al-Hasan's paintings survived, but those that identify him as the artist show that he also worked on a range of subjects including some everyday scenes.

The most famous painting associated with his name, Squirrels in a Plane Tree, is a masterful depiction of animal posture and movement that could only have been derived from direct observation. Since the painting depicts European squirrels unknown in India his work suggests that Jahangir's zoo may have held a few of these animals.

Alternatively Abu al-Hasan may have accompanied Jahangir on one of his travels. The signature on the painting is confusing; Nadir al-Asr ("Miracle of the Age") is the title of Ustad Mansur , not of Abu al-Hasan, but the painting is definitely not Ustad Mansur's style. It is possible that both painters collaborated on this painting.