Farrukh Beg

His work showed his distinct training in Persian manuscript painting, which later on evolved to include more experimental techniques such as atmospheric perspective and modeling.

[7] While working at the atelier of Ibrahim Mirza, the governor of Mashhad, Farrukh Beg illustrated a manuscript of Haft Awrang (Seven Thrones).

[7] While the exact date of Farrukh's departure for Kabul is not recorded, his tenure under Mirza Muhammad Hakim, half-brother of Mughal Emperor Akbar, has been well documented.

Abu'l Fazl states "Farrukh Beg Musavvir and others received suitable robes and horses, and trays of muhrs and rupis.

In the Akbarnama, some of Farrukh Beg's works include Akbar's Triumphal Entry into Surat and Mir Mu’izz al-Mulk and Afghan rebel Bahadur Khan meet in 1567.

[8] Farrukh Beg's celebrated status at Akbar's court is seen through frequent mentions as "nadir al-asr" (Wonder of the age) in Baburnama and Akbarnama, conferred as part of the reward system instituted by Mughal rulers to exalt artists' workmanship.

[3] The signature helped identify more paintings completed by the hand of Farrukh in Bijapur, based on starkly similar stylistic choices and compositional renderings.

[7] His first documented illustrations in the Haft Awrang juxtapose bright colors to enhance the didactic and literary work with unique figural traits shown using elongated facial features and chin positions.

As illustrated in Akbar's Triumphal Entry into Surat, Farrukh continued the use of color to simultaneously separate and harmonize the composition, while displaying patterned and minutely detailed architectural background, geometric forms contrasted with serpentine chenar trees, illuminated gold skies and intricate vegetal surroundings with bent and textured foliage.

[11] Farrukh painted many depictions of adorable youths and princes and aged and esteemed Sufi figures, particularly after his return to the Mughal court under Jahangir.