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