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]. ==Origins== This art of painting developed as a blending of Persian and Indian ideas. There was already a Muslim tradition of miniature painting under the Turko-Afghan Sultanate of Delhi which the Mughals overthrew, and like the Mughals, and the very earliest of Central Asian invaders into the subcontinent, patronised foreign culture. Although the first surviving manuscripts are from Mandu in the years either side of 1500, there were very likely earlier ones which are either lost, or perhaps now attributed to southern Persia, as later manuscripts can be hard to distinguish from these by style alone, and some remain the subject of debate among specialists.〔Titley, 161-166〕 By the time of the Mughal invasion, the tradition had abandoned the high viewpoint typical of the Persian style, and adopted a more realistic style for animals and plants.〔Titley, 161〕 No miniatures survive from the reign of the founder of the dynasty, Babur, nor does he mention commissioning any in his diaries, the ''Baburnama''. Copies of this were illustrated by his descendents, Akbar in particular, with many portraits of the many new animals Babur encountered when he invaded India, which are carefully described.〔Titley, 187〕 However some surviving un-illustrated manuscripts may have been commissioned by him, and he comments on the style of some famous past Persian masters. Some older illustrated manuscripts have his seal on them; the Mughals came from a long line stretching back to Timur and were fully assimilated into Persianate culture, and expected to patronize literature and the arts.Babur was from Timur family,founder of Mughal empire in India Mughal painting immediately took a much greater interest in realistic portraiture than was typical of Persian miniatures. Animals and plants were also more realistically shown. Although many classic works of Persian literature continued to be illustrated, as well as Indian works, the taste of the Mughal emperors for writing memoirs or diaries, begun by Babur, provided some of the most lavishly decorated texts, such as the Padshahnama genre of official histories. Subjects are rich in variety and include portraits, events and scenes from court life, wild life and hunting scenes, and illustrations of battles. The Persian tradition of richly decorated borders framing the central image was continued. Mughal painting had two elements which are manuscript illustrations with Persian elements and Album portraits.〔Eastman〕 The artistic school of Mughal India was formed through the transmission of techniques both directly and indirectly by master artists of the royal Mughal atelier. The methods of agency that perpetuated and aggregated such techniques in Mughal art were''family ties'', ''court sanctioned apprenticeships, and a joint work system of manuscript production''. Family relationships within the atelier were the most primitive, however the most highly effective forms of artistic stylistic diffusion. These artists tended to be influenced early on in their careers by their relatives, but with exposure to other artists and styles in turn formed their own stylistic personas.〔(Sarafan )/〕 - Sarafan, ''Artistic Stylistic Transmission in the Royal Mughal Atelier'' 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Mughal painting」の詳細全文を読む スポンサード リンク
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