2. A vast range of Dimensional Diversity of indian miniature paintings

Indian miniature art had a massive past of about a millennium across many turbulent periods of political and social history. Cultural and religious shifts were nonetheless significant. These were as much the concerns of art, especially the art of miniature painting, which always looked to politics and society for patronage and to religion and culture for its themes and preferences. They defined various phases of its growth and development as well of its deterioration and decadence.

Theme, kind of patronage, cultural conditions, religious bindings and the over-all philosophy of an era often determined the fact-fiction ratio, thrust and preferences, role of imagination and adherence to realism, recourse to myths, legends, tradition and history and an over-all character of art. For example, Prajnaparmita, being a sacred book, was bound to have a tale-tell character and moral thrust.

Indian mythology had illustrative thrust while Islam illuminative. The great Mughal emperor Akbar preferred serialization of texts while his grandson Shahjahan random detached themes. The early Mewar (seat of Rajputs) rulers preferred religious and classical themes whereas their descendants loved to see in art harem life, hunting and pursuits of luxuries.

Hence, for a fuller appreciation of the art of Indian miniature painting it is required that each phase of its growth and each of its dimensions is dealt with singly and in appropriate details. Considering its very limited scope this article proposes to survey here onward Mughal miniatures for exploring how far they might serve as an alternative source of history.