Who among the following Mughal Emperors shifted emphasis from illustrated manuscripts to album and individual portrait?

States that illustrated Mughal miniatures were important and that Humayun brought Central Asian masters (Abdu's Samad, Mir Sayyid Ali) who 'inspired Indian painters'.

A student could link arrival of Central Asian painters under Humayun to possible introduction of new formats (e.g., album/portrait practices) by checking Persian/Central Asian art habits.

Timeline notes Humayun's exile at the Safavid court (1540–55), indicating direct contact with Persian (Safavid) artistic culture.

One could use basic knowledge that Safavid art favored album pages and portraiture to infer potential influence on Mughal tastes after Humayun's return.

Describes how court painters sometimes inserted small scenes (e.g., hunting) as symbolic elements, showing flexibility in subject and format beyond continuous manuscript illustration.

A student might infer that court painters were accustomed to composing discrete images (compatible with album leaves or standalone portraits) and check if this practice increased after Humayun.

Contains an assignment suggestion to prepare an album by collecting pictures related to Mughal architecture, indicating 'album' is a recognized Mughal collecting/format practice (in later pedagogical framing).

A student could use this as a prompt to investigate when albums became a common Mughal format and whether Humayun's period shows evidence of that practice.

States Mughal miniatures and named master-painters in Akbar's court, implying strong production of illustrated works under Akbar.

A student could compare dates of known illustrated manuscripts (e.g., Akbar Nama) with later dated albums/portraits to see if production focus changed after Akbar.

Mentions Abul Fazl compiling the Akbar Nama — an imperial history project that (by its nature) involved illustrated manuscript production and court patronage of such works.

One could check whether Akbar's commissioned histories were produced as illustrated manuscripts versus later being reproduced as single portraits or muraqqas (albums).

Says nobles of diverse origins patronised painters, promoting syncretic culture and patronage networks — a structural pattern that can influence shifts in subject matter (manuscripts vs. portraits).

Using dates of patronage, one could examine whether changing noble tastes or new patrons around/after Akbar favored individual portraits or albums.

Explicitly notes that during Jahangir's time portrait painting and the painting of animals developed.

A student could compare this claim with earlier Mughal periods (e.g., Akbar) known for illustrated manuscripts to infer a possible shift toward individual portraiture under Jahangir.

An assignment asks students to prepare an album by collecting pictures related to Mughal architecture, indicating albums were a recognized format for collecting images.

One could use this as a clue that albums (muraqqaʻ) were practiced — check period art-histories to see if album production increased under Jahangir compared with manuscript commissions.

States Jahangir was more interested in art and painting than governance, implying active imperial patronage and taste shaping court art.

Combine this with knowledge that a patron's tastes often redirect workshop output to test whether Jahangir's patronage favored albums/portraits over manuscripts.

Notes that the hunt and small inserted scenes were frequent subjects painted by court artists, showing a variety of subject-matter and compositional experimentation at court.

A student could interpret this stylistic diversification as consistent with shifting formats (single-sheet portraits/albums) and then check surviving works' formats and dates.

Provides a dated example (Manohar, c.1615) of a painting of Jahangir's activities, showing individual-portrait/scene production during his reign.

Use such dated paintings to map frequency of single-sheet/portrait works versus folio manuscript illustrations across reigns to assess a shift.

Describes Mughal miniatures and notes that during Jahangir's time portrait painting developed, giving a timeline of changing emphases in Mughal painting traditions.

A student could compare the noted development of portraiture under Jahangir with Shah Jahan's period to see whether portraiture/album practices continued or intensified under Shah Jahan.

Lists 'Shah Jahan's contribution to art and architecture' as a key feature of his reign, indicating his period is important for studying artistic shifts.

Use this as a prompt to examine specialised art-history sources on Shah Jahan's patronage for evidence of shifts from manuscripts to albums/portraits.

An assignment suggests 'preparing an album by collecting pictures related to Mughal architecture', which indicates the pedagogical/curatorial use of albums (muraqqa) as a recognized category.

A student could investigate whether the album format mentioned here was historically prominent in Shah Jahan's court and compare surviving albums to illustrated manuscripts.

Mentions courtly luxury items (Peacock Throne, Taj Mahal) and European travellers in Shah Jahan's time, implying a culturally rich court where artistic patronage could shift in form.

Combine this with knowledge of European contact and court tastes to explore whether patronage preferences moved toward individual portraiture and album-keeping under Shah Jahan.