art in jahangir’s court. nur jahan jahangir marries nur jahan in 1611 father itmad-ud-daulah and...
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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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