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