Female in Mughal MIniatures

The Mughal’s dynasty is known for extraordinary talent especially interest in arts. They whole-heartedly encouraged and patronized the court art-----‘Mughal’s Miniatures’, a colourful phase, spanned over three centuries.
Akbar consumed painting passion and had independence of thoughts. It turned to single miniatures for albums from manuscripts illustrations under Jahangir patronage. It was secular art, dealt with court life, durbar scenes, portraits of royal males and females, birds, flowers, animals, forest, hunting and daily life scenes, flora and fauna and love scenes.
Before Mughals advent in sub-continent, during Umayyad period examples of females paintings have survived are the frescoes of Qusayr Amra bath. As describe by a poet ‘if any man hath in his heart a place for fair ladies, then let him go to the fair one in the bath of Saber: It is matchless and graceful, slim-waisted, well-proportioned’. In this palace, women’s bath’s stucco walls had been decorated with paintings. The pictures are semi-nude figures of dancing girls and musicians.
During Jahangir reign Mughal’s paintings achieved height. The art of portraiture, by its royal patron received special attention; accurate portraiture was confined to male noble and courtiers. During Akbar period mostly male courtiers were painted because females were not allowed to appear in the open courts. Female became popular subject during Jahangir period due to powerful influence of Nur Jehan. She had very strong personality. Her creative abilities ranged from costumes designing to hunting.
The Muslim royal ladies had generally lived in separate quarters called ‘Zenana’ or ‘Harem’------apartments inaccessible to strangers, an ample spaced enclosure. Mothers, sisters, wives, daughters, concubines and all relatives of the king housed there.