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The accounts of his latter days are somewhat divergent. According to one story he made his peace with the Mughals and accepted a military command under the successor of Aurungzeb but it is more commonly asserted that he was assassinated by a private enemy. Even more troublous were the days of his successor Banda.
Jaunpur painting does not seem to have survived the sixteenth century and for our next illustrations of the theme, we must turn to the school of painting fostered by the Mughals. During the sixteenth century at least three Muslim states other than Jaunpur itself had possessed schools of painting Malwa in Central India and Bijapur and Ahmadnagar in the Deccan.
As soon as this intelligence reached the Mughal governor of Jaunpur, that nobleman, who had been directed by Akbar to keep a sharp eye on the affairs of Behar, and to act as circumstances might dictate, crossed the Karamnásá, and marched on the fortified city of Patná, into which Dáúd, distrustful of meeting the Mughals in the field, had thrown himself.
Coal-black Africans, ruddy Pathans and yellow Bukharans squat on the open turf to the west of the Victoria and Albert Museum; Mughals in long loose coats and white arch-fronted turbans wander about smoking cigars and chatting volubly, while Bombay Memons in gold turbans or gold-brocade skullcaps, embroidered waistcoats and long white shirts stand on guard over their romping children.
Despite the efforts of the Mughals to exterminate them, they were favoured by the disturbed state of the country in the early decades of the eighteenth century, for the raids of Afghans and Persians convulsed and paralyzed the empire of Delhi.
Bábar, I have said, tired of his wandering life, had resolved to march on Khorásán. He crossed the Oxus, therefore, and joined by Bákí, the son of Sultán Khusrou, ruler of the country, marched on Ajer, remained there a few days; then, hearing that the Mughals in Khusrou's service had revolted, he marched towards Talikán, so as to be able to take advantage of the situation.
He dashed first against the advancing left wing of the Mughals and threw it into disorder, but as his lieutenants failed to support the attack with infantry, he drew off, and threw himself on the centre, commanded by Bairám in person. That astute general had directed his archers, in anticipation of such an attack, to direct their arrows at the faces of the riders.
Between the two places he was joined by the Mughals in question, and learnt that Sultán Khusrou, with the remainder of his troops, was on his way to Kábul. The two armies were so close to one another, that an interview took place between the leaders, which resulted in the complete submission of Khusrou, whose troops came over in crowds to Bábar.
The third period was more significant and relatively stable. Baber, a Turkish prince of Fergana, captured Delhi in 1526 and founded the power of the Mughals, which during the seventeenth century deserved the name of the Indian Empire.
In each case the style was probably brought to India by Persian artists who communicated it to Indian painters or themselves adjusted it to local conditions. And it is this process which was repeated but on an altogether grander scale by the Muslim dynasty of the Mughals.
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