Art in Jahangir

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Art in Jahangirs Court
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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

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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

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Jahangirs 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

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Directions in Jahangirs Patronage

• Interest in European uses of perspective and
  shading
• Continued emphasis on naturalism (started in
  Akbars 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

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• Older Rajput Syle
• Flat perspective
• Wasp waist
• Warmer colors
• Geometric lines

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Persian styles

• Rendering of individual figures stylizedan ideal
  of beauty
• Landscape had characteristic chinese style
  rocks and clouds
• Cooler palette of colors than Indian paintings
• Curved margins and lines

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Jahangirs 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 compositionsJahangir
  prefering Sheikh to kings

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Detail of figure in an allegorical Painting
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Exact Duplication

• Pen and ink lines show shading and 3-dimensional
  molding
• Similar depictions in full color on wall murals
  and paintings

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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/symb
  olic themes
• Increased use of symbolic themes
• Movement towards an abstraction of meaning and
  content

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Portrait styles compared
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Symbolism begins to show Jahangir in New ways

• Idea of world conquerorJahangir
• 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 Kings ordering
  of time

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Nature Albums

• Aside from more experimental and innovative style
  a continued interest in albums cataloging the
  empirenobles, flora, fauna
• Added to these is a growing interest in novelty
  species and art

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The place of Art in Imperial Style

• The creation of the noble as a connoisseur of all
  things finecalligraphy, clothes, jewelry, art,
  knowledge
• The Emperors lifestyle copied by courtiers
• Emperors public appearances become less
  frequent, but private audiences with select
  nobles continue
• Regional courts of mansabdars replicate both
  patronage and aesthetics

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Foundations for a new elite culture

• Dependent on a large fortuneeither through
  imperial salary or inheritance
• Exposure and socialization to court culture
  becomes an important part of acceptance into the
  elitenot just administrative or military talents
• The emperor functions as the ideal model for such
  courtly behavior, the rarity of public
  appearances heightening their importance

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