Narratives of an English Painter from the Court of Amir Dost Mohammad Khan

 

 

Amir Dust Mohamad Khan

Narratives of an English Painter from the Court of Amir Dost Mohammad Khan

 ORCID: 0009-0004-0024-1223  

 Author: Islamuddin Firoz, Former Professor, Department

of Music, Faculty of Fine Arts, Kabul University

The visual arts in Afghanistan possess a long and distinguished history; from the works of the Greco-Bactrian period and the sculptures of the Hadda musicians in Jalalabad, to the magnificent statues and colorful paintings of Bamiyan, and later the artistic achievements of the Islamic periods, including the miniature masterpieces of Kamal al-Din Behzad during the Timurid era in Herat all testify to the rich cultural and artistic heritage of this land.

In later periods as well, painting held a special place in the courts of Afghan kings and amirs, reflecting their taste and interest in the arts. In the court of Amir Dost Mohammad Khan, an English painter named Godfrey Thomas Vigne was present, who depicted natural landscapes of Kabul and other regions of Afghanistan, as well as portraits of prominent court figures. Here, selections from his notes, taken from his book entitled A Personal Narrative of Travels to Ghuzni, Kabul, and Afghanistan, and of a Residence at the Court of Dost Mohamed, are presented.

This book, titled A Personal Narrative of Travels to Ghuzni, Kabul, and Afghanistan…, was published in London in 1840. The narratives contained in it are the result of the author’s travels to Afghanistan particularly Kabul and the court of Amir Dost Mohammad Khan during the years approximately between 1836 and 1838.

This period coincides precisely with the prelude to the First Anglo-Afghan War (1839–1842), a time when Afghanistan had gained great political and military importance for Britain. Therefore, this book is not merely a travel account, but also a reflection of the political, social, and cultural conditions of that time.

He writes that his efforts in portrait painting, both at court and elsewhere, were successful and attracted the attention and admiration of the people of Kabul. According to him, people not only did not show aversion to this art, but continually requested him to paint their likenesses. He usually spent his mornings in the spacious and well-lit rooms of the Bagh-e Shah, where the notables of Kabul gathered, and where Mohammad Akbar Khan was also occasionally present.

At the prince’s request, he painted a portrait of his mother. This painting caused laughter among those present, but the prince seriously insisted that she sit for the portrait. After its completion, the prince happily showed it to others, and the gathering was filled with humor and laughter.

He also painted a portrait of the prince himself on horseback and in full armor, which met with his approval, although the prince emphasized that the length of his large spear should be clearly visible in the image.

The English painter further notes that Amir Dost Mohammad Khan had a considerable understanding of art, especially in the depiction of animals. He understood concepts such as light and shadow, facial proportions, and visual details qualities which, according to the author, were less commonly found among many people of the East. The Amir preferred that horses be portrayed naturally and without exaggeration.

During the process of painting the Amir’s own portrait, the artist faced certain challenges, particularly due to the flattering remarks of some courtiers, which cast doubt on his work. Nevertheless, the Amir himself, with a polite and thoughtful demeanor, guided him and even asked him to indicate which parts of the painting he considered accurate or inaccurate.

He also refers to occasional opposition from some religious figures. For instance, a mullah who allowed himself to touch the paintings and interfere in his work. In another case, a sayyid complained to the Amir that the painter might be looking at women, but the Amir firmly dismissed this claim as baseless.

In another incident, an extremist mullah from outside the city perceived his painting of the bazaar as a threat and even attempted to incite the people against him; however, with the intervention of the Nawab’s attendants, the matter was resolved without trouble. The author emphasizes that despite such opposition, he was always under the protection of the Amir and the court, and was able to continue his artistic activities with relative freedom.

Entrance to the main bazaar of Kabul

 

An examination of these narratives shows that the court of Amir Dost Mohammad Khan was a relatively open environment with a strong interest in the arts, particularly painting. The presence of a foreign artist and the practical support extended to him both in painting court portraits and in documenting urban landscapes demonstrate the value placed on visual arts by members of the court. This support went beyond mere acceptance, extending to active facilitation and the provision of security and resources for the artist.

More importantly, the personality of the Amir himself stands out. According to this account, he was not only a patron of the arts, but also possessed a relatively deep understanding of the principles of painting such as light and shadow, proportion, and realism. This suggests that his artistic appreciation went beyond superficial interest and reached a level of aesthetic awareness.

However, alongside this courtly atmosphere, the broader society of that time did not yet possess a widespread or profound understanding of the art of painting. Particularly among some mullahs and religious individuals, there existed a skeptical or even oppositional attitude toward painting especially when practiced by a foreign artist. These objections often stemmed from misunderstandings and cultural or religious concerns, to the extent that in some cases painting was perceived as a social or moral threat.

In sum, it can be said that the court of Amir Dost Mohammad Khan represented a kind of cultural transition: on the one hand, it embraced art and interaction with foreign artists; and on the other, it existed within a society that was not yet fully prepared to accept such phenomena. This very contrast provides a vivid picture of the condition of art in that period of Afghanistan’s history.

 

References

Ghobar, Mir Ghulam Mohammad. (1967). Afghanistan dar Masir-e Tarikh [Afghanistan in the Course of History]. Kabul: Kabul Public Press.

Vigne, Godfrey Thomas. (1840). A personal narrative of a visit to Ghuzni, Kabul, and Afghanistan, and of a residence at the court of Dost Mohamed: With notices of Runjit Sing, Khiva, and the Russian expedition. VOL 2. London: Whittaker & Co. 

 

This article is an English translation of a Persian text previously published on Blogger: https://afahmc.blogspot.com/2026/04/blog-post.html