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These watercolors show Delhi artists adapting selected European devices—not abandoning Mughal practice—to portray Afghans encountered during Mountstuart Elphinstone’s embassy. Made around 1808–10 by unidentified Delhi painters and published in Elphinstone’s illustrated account of Caubul in 1815, they combine naturalistic poses, softly modelled bodies and textiles, and individualized likenesses with Mughal approaches to faces, landscapes, and pictorial types.
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What the portraits are, and when they were made
Elphinstone’s embassy left Delhi in 1808 and travelled toward Peshawar through Bikaner, Bahawalpur, and Multan. Its illustrated account contains ten images of Afghans in different costumes. The works are attributed to Delhi artists who accompanied the embassy between 1808 and 1810; none of those artists is named in the sources discussed here.
The images first appeared in Elphinstone’s book in 1815. In 1993, the British Library acquired an album containing the original drawings for the ten Delhi-school illustrations. The same album includes four watercolors of visiting Afghans made by Robert Melville Grindlay in Poona in 1813. Grindlay was a British amateur artist, so his sheets should not be confused with the unidentified Delhi painters’ work.
The historical captions preserve period spellings and categories such as “Durrani,” “Tajik,” “Ghilzai,” “Hazara,” and “Uzbek.” They record the language of the source and its patrons, not fixed modern national identities or a complete account of each sitter.
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Which drawings matter most for the argument about European influence?
The 2015 account in Scroll.in, republished from the British Library Asian and African Studies blog, treats seven of the ten drawings as especially important evidence for an emerging naturalistic style. Four are attributed to one Delhi artist, dating to about 1810. Three others are more conventional equestrian portraits and fall outside the article’s main discussion.
| Work | Date and medium | What it contributes to the comparison |
|---|---|---|
| A Khojeh of Uzbek Tartary | 1808–10, watercolor, Add.Or.4670 | A figure study useful for examining pose, body modelling, costume, and individualized appearance. |
| A Taujik in the Summer Dress of Caubul | 1808–10, watercolor, Add.Or.4673 | Shows how clothing and the body could be rendered with softer, more observational modelling. |
| Man of the Tymunee Eimauk | 1808–10, watercolor, Add.Or.4676 | Elphinstone identified the sitter as Kereem, a Hazaureh who had served him; the likeness illustrates the move beyond a generic type. |
| Two Dooraunee Shepherd studies | 1808–10 | One retains Mughal treatment of the face and landscape while handling garments in a more summary, Europeanized manner. |
| A Khawtee Ghiljie in his Summer dress | 1808–10, watercolor, Add.Or.4675 | A seated figure on a carpet against a white wall, notable for personality; the hands and feet are less successful. |
Elphinstone’s label identifies the “Khojeh” as Mahommed Hussun, described as of Uzbek and Syud parentage. These identifications should be quoted as source-era descriptions rather than silently modernized.
What looks European in the Delhi artists’ handling?
Naturalistic poses instead of fixed courtly formulas
Several figures stand or sit in relaxed, readable poses against plain grounds. Their upright stance and bodily weight differ from the more formal, idealized presentation common in inherited Mughal portrait conventions. The change is not simply a matter of realism in the modern sense: it is a choice to observe how a person occupies space.
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Soft modelling of bodies and fabrics
The article describes clothing softly modelled over the body, naturalistic treatment of textiles, and flesh built up with soft stippling. These techniques give sleeves, turbans, trousers, and skin a sense of volume rather than leaving them as sharply bounded areas of flat color.
Individual personality rather than only social type
The Ghilzai figure seated against a white wall has a strong sense of individual personality, even though the hands and feet are less assured. The Tymunee Eimauk portrait likewise operates as a named likeness through Elphinstone’s identification of Kereem. Such attention to a person’s presence is central to the case for an emerging naturalistic portrait style.
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Selective, not uniform, Europeanization
The works do not apply one consistent European system to every feature. A Durrani shepherd, for example, retains Mughal conventions in the face and landscape while treating the garments in a more abbreviated Europeanized fashion. This unevenness is evidence of adaptation: artists chose where to alter technique and where to continue established practice.
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How should “European influence” be understood?
The article argues that the combination of individualized figures and the upright stance of standing subjects makes these the earliest so-far-dateable portraits it discusses to show European influence on Delhi artists. That is an attributed scholarly priority claim, not an uncontested census of every surviving Delhi painting.
The Metropolitan Museum of Art’s overview of Company painting provides a broader framework. It describes works made by Indian artists for European patrons, often using watercolor, linear perspective, shading, and a European style and palette, while stressing that regional practices grew from earlier local traditions. In that sense, the Afghan sheets are best read as hybrid experiments within Delhi’s Mughal-derived visual culture, not as imported European pictures or proof that Mughal painting suddenly disappeared.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.Delhi patronage and the Fraser comparison
British occupation of Delhi in 1803 expanded a market for paintings made for Europeans. As the Met explains, artists depicted Mughal monuments as well as servants, carriages, horses, possessions, occupations, festivals, and costumes. This widening subject range created reasons to study people and things with greater observational specificity.
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The Fraser brothers’ northern tour took place in 1815–16, with Delhi artists travelling with them. A comparison made in the 2015 article with a Fraser album page dated 1815–19 points to continuity in relaxed poses, small cast shadows, and constructed landscape. The comparison is important because it places a recognizable Delhi Company style before the Frasers’ tour: the article says that style was already in existence by 1810, while acknowledging that the album does not resolve exactly how it developed.
The Indira Gandhi National Centre for the Arts identifies Ghulam Ali Khan and Lallji as Delhi painters commissioned by the Fraser brothers around 1815 to depict Delhi inhabitants. The reviewed evidence does not identify either painter as the maker of the Afghan portraits, so their names should not be attached to these sheets without separate proof.
A practical way to read the paintings
Compare each image along four visual axes:
- Ground: Is the figure isolated against a plain field or placed in a landscape or interior?
- Pose: Is the body standing, seated, or arranged as a conventional equestrian portrait?
- Likeness: Does the face and attitude suggest an individual, or primarily a recognizable social type?
- Technique by feature: Are the face, clothing, and landscape each treated with Mughal-derived conventions, softer Europeanized modelling, or a mixture?
Reading the paintings this way prevents “European influence” from becoming a vague label. It identifies specific decisions—stance, shading, textile description, spatial setting, and likeness—while keeping the artists’ continuing local practice visible.
Why the distinction matters
Calling these works “Company paintings” is useful only if the term remains broad. Company painting encompassed different regional practices and patrons; it was not a standardized school with a single style. The Afghan portraits document a particular moment when Delhi artists responded to an embassy, unfamiliar sitters, and European-connected patronage by modifying some pictorial conventions while retaining others.
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1Repair Windows errors before they cause bigger problems2Scan for outdated or missing drivers - takes under a minute3Clear out junk files and repair common Windows errorsThe result is neither wholesale Westernization nor an unchanged Mughal inheritance. It is an early, dateable record of Delhi painters testing how observation, modelling, and personality could work inside an established watercolor tradition.
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