Drawing the likeness of anything is called taçwír. His Majesty, from his earliest youth, has shewn a great predilection for this art, and gives it every encouragement, as he looks upon it as a means, both of study and amusement. Hence the art flourishes, and many painters have obtained great reputation. The works of all painters are weekly laid before His Majesty by the Dáróghahs and the clerks; he then confers rewards according to excellence of workmanship, or increases the monthly salaries. Much progress was made in the commodities required by painters, and the correct prices of such articles were carefully ascertained. The mixture of colours has especially been improved. The pictures thus received a hitherto unknown finish. Most excellent painters are now to be found, and master-pieces, worthy of a Bihzád,* may be placed at the side of the wonderful works of the European painters who have attained world-wide fame. The minuteness in detail, the general finish, the boldness of execution, &c., now observed in pictures, are incomparable; even inanimate objects look as if they had life. More than a hundred painters have become famous masters of the art, whilst the number of those who approach perfection, or of those who are middling, is very large. This is especially true of the Hindus:* their pictures surpass our conceptions of things. Few, indeed, in the whole world are found equal to them.
Among the forerunners on the high road of art I may mention:
1. Mír Sayyid 'Alí of Tabríz.* He learned the art from his father. From the time of his introduction at Court, the ray of royal favour has shone upon him. He has made himself famous in his art, and has met with much success.
2. Khájah Abduççamad, styled Shírínqalam, or sweet pen. He comes from Shíráz. Though he had learnt the art before he was made a grandee* of the Court, his perfection was mainly due to the wonderful effect of a look of His Majesty, which caused him to turn from that which is form to that which is spirit. From the instruction they received, the Khájah's pupils became masters.
3. Daswant'h. He is the son of a palkee-bearer. He devoted his whole life to the art, and used, from love to his profession, to draw and paint figures even on walls. One day the eye of His Majesty fell on him; his talent was discovered, and he himself handed over to the Khájah. In a short time he surpassed all painters, and became the first master of the age. Unfortunately the light of his talents was dimmed by the shadow of madness; he committed suicide. He has left many master-pieces.
4. Basáwan. In back grounding, drawing of features, distribution of colours, portrait painting, and several other branches, he is most excellent, so much so, that many critics prefer him to Daswant'h.
The following painters have likewise attained fame: Késú, Lál, Mukund, Mushkín, Farrukh the Qalmáq (Calmuck), Mádhú,* Jagan, Mohesh, K'hémkaran, Tárá, Sáṉwlah, Haribaṉs, Rám. It would take me too long to describe the excellencies of each. My intention is “to pluck a flower from every meadow, an ear from every sheaf.”
I have to notice that the observing of the figures of objects and the making of likenesses of them, which are often looked upon as an idle occupation, are, for a well regulated mind, a source of wisdom, and an antidote against the poison of ignorance. Bigoted followers of the letter of the law are hostile to the art of painting; but their eyes now see the truth. One day at a private party of friends, His Majesty, who had conferred on several the pleasure of drawing near him, remarked: “There are many that hate painting; but such men I dislike. It appears to me as if a painter had quite peculiar means of recognizing God; for a painter in sketching anything that has life, and in devising its limbs, one after the other, must come to feel that he cannot bestow individuality upon his work, and is thus forced to think of God, the Giver of life, and will thus increase in knowledge.”
The number of master-pieces of painting increased with the encouragement given to the art. Persian books, both prose and poetry, were ornamented with pictures, and a very large number of paintings was thus collected. The Story of Hamzah was represented in twelve volumes, and clever painters made the most astonishing illustrations for no less than one thousand and four hundred passages of the story. The Chingiznámah, the Zafarnámah,* this book, the Razmnámah, the Ramáyan, the Nal Daman, the Kalílah Damnah, the 'Ayár Dánish, &c., were all illustrated. His Majesty himself sat for his likeness, and also ordered to have the likenesses taken of all the grandees of the realm. An immense album was thus formed: those that have passed away, have received a new life, and those who are still alive, have immortality promised them.
In the same manner, as painters are encouraged, employment is held out to ornamental artists, gilders, line-drawers, and pagers.
Many Mansabdars, Ahadís, and other soldiers, hold appointments in this department. The pay of foot soldiers varies from 1200 to 600 dáms.