Abstract
In the year 1544, the Mughal emperor Humāyūn (r. 1530-40 and 1555-56) came to the Safavid court seeking Shāh Tahmāsb I's help to recapture his kingdom. Tahmāsb (r. 1524-76) obliged and Humāyūn eventually recovered his throne. The political consequences of the Safavid encounter notwithstanding, Humāyūn's visit is mostly remembered as a fortuitous event that launched the development of the Mughal school of painting. From an art historical perspective, its timing could not be more propitious ; Persian courtly painting had reached new heights but, at the same time, the royal Safavid library-atelier was sliding into disarray. it thus prompted the departure of the celebrated painters Mīr Sayyid Ali and Abd al-Samad for the Mughal court. Other artists followed suit. Some remained there, and some came back and paved the way for the migration of the next generation of paintes. This study focuses on the conditions that led to three successive migratory waves between the Safavid and Mughal courts from 1544 to 1585, with an emphasis on the stylistic development of one particular third wave artist, the famous Farrukh Beyg.
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