What European features were incorporated in the Mughal school of painting? Did it absolve the traditional Persian influences of the Mughal paintings? Evaluate.

The channel. Jesuit missions arrived at Akbar's court from 1580 and presented engravings and illustrated books, including the Antwerp Polyglot Bible. Mughal artists copied them as an exercise, and then absorbed selected devices.

What was incorporated.

• Recession and perspective, replacing the stacked, non-converging space of Persian painting.
• Modelling in light and shade, giving volume to faces and drapery, and atmospheric perspective in distant landscape.
• The halo. The nimbus behind the emperor's head, taken from Christian iconography, became the standard symbol of Mughal sovereignty under Jahangir and Shah Jahan.
• Christian and classical motifs — the Madonna, angels and putti — used decoratively and allegorically, as in Jahangir's allegorical portraits.
• Portrait naturalism, culminating in Jahangir's insistence on likeness and in Mansur's studies of birds and flowers.

Did it absolve Persian influence? No. The atelier itself was Persian in origin, founded by Mir Sayyid Ali and Abd-us-Samad, brought by Humayun from Safavid Iran, and Persian conventions remained structural:

• The muraqqa album format, and the decorated hashiya margin.
• Calligraphy as a co-equal art on the page.
• Jewel-like mineral colour and fine pardakht stippling.
• Persian literary subjects and the manuscript tradition itself.

Conclusion. European devices were absorbed selectively into a Persian structure, and the result is a third thing — a synthesis in which Indian naturalism, Persian composition and European modelling coexist. Replacement never occurred; what changed was the balance, and by Shah Jahan's reign the European element had been thoroughly domesticated.