a reconsideration of emperor shah jahan's patronage for the arts
DESCRIPTION
During the reign of the Mughal Empire (1526-1707) in India, the most notable emperors for their patronage of the arts were Babur (1526-1530), Humayun (1530-39, 1555-1556), Akbar (1556-1605), Jahangir (1605-1627), and Shah Jahan (1628-1658). However, this imperial family who descended from the Timurids, began a tradition that was ironically forbidden in the Muslim faith of Islam—the representation of living things. This meant that painting could only be supported by those who were wealthy and powerful. Thus the “private nature of the art made it totally dependent on the patronage of kings and princes”, leaving no surprise that the arts flourished and a specific Mughal style of manuscript painting and border illumination emerged under the supervision of the emperors. Specifically examining Emperor Shah Jahan’s patronage for the arts, two manuscript folios will be addressed for their border illumination, Mughal style, and iconography of imperial patronage for the arts. Contrary to scholarship on Shah Jahan, which has implied that the emperor did not possess the meticulous concern for the arts as his father Jahangir, Shah Jahan’s care for his library and thorough inspections of manuscripts along with his unique self-image in his portraits discloses not only an height in Mughal portraiture with the inclusion of figural borders with the unification of Persian, Indian, and European elements, but his pride as imperial patron for the arts. This patronage for manuscript painting under Shah Jahan needs to be reconsidered as an equally sufficient symbol of his imperial character and reign rather than perceived as a neglected art in comparison to his investment in architecture. For to continue reading this paper, please email art historian, Madelyne Oliver, at: [email protected]TRANSCRIPT
A Reconsideration of Emperor Shah Jahan’s Patronage for the Arts
Presentation byMadelyne Oliver
Department of Art History Art Hist 198: The Taj Mahal and the Mughals
Spring 2009Professor A. Patel
Thesis: Contrary to scholarship on patronage of Shah Jahan, which
has implied that the emperor did not possess the meticulous concern for the arts as did his father Jahangir, Shah Jahan’s care for his library and thorough inspections of manuscripts along with his unique self-image in his portraits discloses not only a height in Mughal portraiture with the inclusion of figural borders with the unification of Persian, Indian, and European elements, but his pride as imperial patron for the arts. This patronage for manuscript painting needs to be reconsidered as an equally sufficient symbol of his imperial character and reign rather than seen as neglected in patronage when compared to his investment in architecture.
Artist UnknownThe Spring Garden of
Jami (c. 1650)From the Baharistan
Mir Sayyid-’AlīNighttime in the
Palace (1539)From the Khamsa of
NizamiPersian
Gold and gouache on paper
DaulatJahangir in an Idgah
(1596-1640From the
JahangirnamaIndian
Watercolor on paper
Basawan (act. C. 1556-1600)
Allegorical Figure (1590)
watercolor and gold on paper
India Mughal
Artist Unknown
Portrait of Asaf Khan from Late
Shah Jahan Album
1650 ink, color, and gold
on paper
IndiaMughal
Bichitr (active circa 1610-circa 1650)
Emperor Shah Jahan Late Shah Jahan album
1628-1658 (verso)opaque watercolor, gold, and ink
on paper
India Mughal
Mir Ali
Calligraphy Folio from the Late Shah
Jahan album 1500-circa 1544 (recto)
Ink on paper
IndiaMughal
Recto, border, lower left portion: Antelope and Flowers
Bichitr (active circa 1610-circa
1650)
Emperor Shah Jahan
Late Shah Jahan album
1628-1658 (verso)opaque watercolor,
gold, and ink on paper
India Mughal
Hunting coat (1605-1627)
album satin/silk
India Mughal
Katar Dagger (top) and Scabbard (bottom), 17th century
IndiaTop: steel blade, nephrite jade
hilt, locket, and chape inlaid with gold and set with rubies and
emeralds in kundan techniqueBottom: jade locket and chape inlaid as above; wood scabbard
overlaid with green velvet
Scabbard (top) and Dagger (top), 17th century, India
Top: jade locket and chape inlaid as above; wood scabbard overlaid with red and gold silk
velvetBottom: steel blade, nephrite
jade hilt inlaid with gold and set with rubies, emeralds, and
diamonds in kundan technique
Verso, lower border: Jewel Merchant
Dagger Sash-Cord Ornament, 17th century
Nephrite jade inlaid with gold in Kundan technique
and set with rubiesMughal
ChitarmanAlbum leaf (1628-9)Late Shah Jahan AlbumInk, color, and gold on
paper
Hashim
Shah Jahan in Old Age mid 17th century
opaque watercolor on paper
India
Hashim
Shah Jahan in Old Age
mid 17th centuryopaque watercolor on paper
India
Illuminated top border: angel with canopy
Illuminated lower border: lion and goat
Illuminated border at lower right corner: attendant and seated lion
Rembrandt van Rijn, European (Dutch, 1606 –
1669)
Shah Jahan 1654-1656
pen and brown ink/wash