Art in Jahangir’s Court

1. Art in Jahangir’s Court

2. 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

3. 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

4. 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

5. 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

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

7. 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

10. 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

11. Detail of figure in an allegorical Painting

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

13. 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

14. Portrait styles compared

16. 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

18. 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

20. 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

21. 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