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Art in Jahangir's Court

1) Jahangir marries Nur Jahan in 1611 and she comes to rule as his consort, evidenced by her appearance on coins and official documents. 2) During Jahangir's reign from 1611-1621, Nur Jahan and her family hold influential positions at court and in the government, which causes resentment from Prince Khurram. 3) Jahangir shows interest in European techniques like perspective and shading in art and continues to borrow from Persian and Indian styles, while individual artists develop their own styles rather than a single imperial style.

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119 views23 pages

Art in Jahangir's Court

1) Jahangir marries Nur Jahan in 1611 and she comes to rule as his consort, evidenced by her appearance on coins and official documents. 2) During Jahangir's reign from 1611-1621, Nur Jahan and her family hold influential positions at court and in the government, which causes resentment from Prince Khurram. 3) Jahangir shows interest in European techniques like perspective and shading in art and continues to borrow from Persian and Indian styles, while individual artists develop their own styles rather than a single imperial style.

Uploaded by

Rahul
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PPT, PDF, TXT or read online on Scribd
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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

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