The Mughal (Indo Islamic) School of painting was a result of synthesis of indigenous Indian style of painting and the Safavid school of Persian painting. Thus, Mughal paintings was a unique blend of Indian, Persian and Islamic styles.

Its rise to prominence was seen during the reign of Akbar in 1560 A.D., when various Persian painters migrated and joined his court. In the beginning of Akbar’s rule, this style of painting was established under the supervision of two Persian masters, Mir Sayyed Ali and Abdul Samad Khan, who were originally employed by Humayun. Later, a large number of Indian artists from all over India were recruited to work under the Persian masters.

Major Features of Mughal Painting

• Mughal painting is the style of miniature painting that developed in the northern Indian subcontinent in the sixteenth century and continued till the mid–nineteenth century.
  
  
• The Mughal style is marked by supple naturalism based on close observation of nature and fine and delicate drawing.
  
  
• It is primarily aristocratic and secular type of painting.
  
  
• It was mainly confined to Imperial courts, so mainly depicted the Mughal splendor and pomp.
  
  
• Under Jahangir, the Mughal school paintings acquired greater charm, refinement and dignity and covered the portraiture of birds, animals and flowers.
  
  
• Many a times, this style of painting dealt with materialistic aspect of animal life such as hunting of deers, fighting of animals such as elephants.
  
  
• The two most celebrated works accomplished during the times of Akbar was Tuti-nama and Hamza Nama. 
  
  

Mughal painting was essentially a court art; it developed under the patronage of the ruling Mughal emperors and began to decline when the rulers lost interest. After Jahangir's reign, the Mughal painting declined and by the second half of 18th century, it mostly ceased to exist in the mainstream.