Art in Jahangir’s Court

Nur Jahan
• Jahangir marries Nur Jahan in 1611
• Father Itmad-ud-Daulah and Brother Asaf
Khan quickly rise to level of Wizir
• Matrimonial alliances
– Niece Mumtaz Mahal marries Khurram
– Daughter Ladli Begum marries Shahrayar
• Rules as consort as evidence by Coins,
seals, official documents, memoirs
 Problems with Authority in this
Period
• After 1611 and until 1621, Nur Jahan appears to
be central in court affairs
• Prince Khurram controls the Army and displays
open resentment of his father and later Nur
Jahan
– Declines transfer to the Deccan
– Has to send children as hostage to court
• In-laws hold key posts, Asaf Khan supports
Khurram
• Nobility splits its support, but continues to
support Jahangir most of all
 Jahangir’s Death and Crisis
• Problems with security evident in 1626
when Mahabat Khan seizes the Emperor
and Nur Jahan
• Prince Parvez and Shahrayar emerge as
contenders (only due to factions)
• Prince Khurram still far away from court
when crisis errupts
• Persians seize Kandahar
• Asaf Khan secures the throne for Khurram
Directions in Jahangir’s Patronage
• Interest in European uses of perspective
and shading
• Continued emphasis on naturalism
(started in Akbar’s time)
• Continued borrowing from Persian and
Indian artistic traditions
• Individual development of artistic vision
rather than a common imperial style
• A trend towards symbolic imagery
• Older Rajput Syle
– Flat perspective
– Wasp waist
– Warmer colors
– Geometric lines
 Persian styles
• Rendering of individual figures stylized—
an ideal of beauty
• Landscape had characteristic “chinese”
style rocks and clouds
• Cooler palette of colors than Indian
paintings
• Curved margins and lines
 Jahangir’s European interests
• Transitions from borrowing of elements
(angels, scenery)-see book cover
• To duplication of exact themes and
techniques-next two slides
• Adaptation to Mughal styles, particularly in
allegorical and symbolic compositions—
Jahangir prefering Sheikh to kings
Detail of figure in an allegorical
Painting
 Exact Duplication
• Pen and ink lines
show shading and 3-
dimensional molding
• Similar depictions in
full color on wall
murals and paintings
Development of Individual styles
• While each artist developed differently
most showed some common traits
• Interest in depicting nature, or naturalism
in painting style even in very
artificial/formal/symbolic themes
• Increased use of symbolic themes
• Movement towards an abstraction of
meaning and content
Portrait styles compared
 Symbolism begins to show
Jahangir in New ways
• Idea of world conqueror—Jahan—gir
• The lion and lamb motif, which also
appears on the base of the mughal throne
• The king as a charismatic/semi-divine
figure
• The hourglass as a symbol of the King’s
ordering of time
 Nature Albums
• Aside from more experimental and
innovative style a continued interest in
albums cataloging the empire—nobles,
flora, fauna
• Added to these is a growing interest in
novelty species and art
 The place of Art in Imperial Style
• The creation of the noble as a connoisseur
of all things fine—calligraphy, clothes,
jewelry, art, knowledge
• The Emperor’s lifestyle copied by courtiers
• Emperor’s public appearances become
less frequent, but private audiences with
select nobles continue
• Regional courts of mansabdars replicate
both patronage and aesthetics
Foundations for a new elite culture
• Dependent on a large fortune—either through
imperial salary or inheritance
• Exposure and socialization to court culture
becomes an important part of acceptance into
the elite—not just administrative or military
talents
• The emperor functions as the ideal model for
such courtly behavior, the rarity of public
appearances heightening their importance