Neha Sharma (058)

Neha Sharma

BA Hons. History

Lady Shri Ram college for women

How does the Mughal court painting of Jahangir and Shahjahan’s period reflect the
imperial and cultural ideologies of the Mughal Empire?

OR

Trace the origin and development of the Mughal Painting during the 16th and 17th
centuries.
Painting is a type of cultural tradition that represents values, beliefs, behavior while providing
material objects that help people to comprehend their way of life. Painting becomes a bridge
to our past because it reflects what people think and desire to show.
Mughal painting, which began in the 16th century and continued to flourish and grow until
the 19th century, has piqued the interest of art lovers around the world. Sometimes literary
sources avoid discussing art, which Ebba Koch argues is to avoid tarnishing an Emperor's
name as "un-Islamic."
The Mughal school of miniature art represented the governing power's mentality in its subject
matter and intent, and it played an essential part in the spread of imperial claims. Akbar
established the school after Humayun's initiation. After reaching its pinnacle under Jahangir
and Shahjahan, the Mughal style of painting began to deteriorate under Aurangzeb's reign,
when painters were given little encouragement.
Furthermore, it is critical to comprehend the role of religion in the process. According to
Brown, the Mughals' encouragement of art, despite the religion's prohibition, demonstrates
that "temperament was more powerful than belief." Because art was secular in nature, the
patrons' beliefs tended to be guided by the spirit rather than their convictions.
The paintings of the Mughals reflect two distinct cultural traditions: 'high culture' and
'popular culture.' High culture is associated with a sophisticated upper class with exclusive
tastes, and high culture items are not accessible to the general public because they are costly
artistic and intellectual creations. 'Popular culture' is often associated with ordinary people,
and its products are simple, inexpensive, and easy to comprehend. In the context of Mughal
empire, the ‘high culture’ was exclusive domain of Mughal emperors, their nobles who gave
exclusive patronage to the artists, whereas, the ‘popular culture’ was associated with
aspirations, norms, customs of the general Mughal society and despite lack of patronage, it
continued to survive like the bazaar paintings. The Mughal era used expensive colors
obtained from minerals and metals.
Painting under Akbar's reign differs from Persian and Indian styles in several ways, the most
notable of which being the prevalence of historical subject matter. Painting was organized as
an Imperial establishment or karkhana during Akbar's reign since he enjoyed it so much.
Daily occurrences of the court and portraits of notable figures were the two most popular
themes.

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The Portuguese missionaries introduced European painting to the court of Akbar. Abul Fazl
appreciates the European style of painting for its skill. Indian painters, on the other hand,
never quite grasped the skill of perspective.
Brown refers to Jahangir's reign as the "Meridian" period of Mughal artistic maturity. Soon
after his accession, Jahangir drastically curtailed the royal studio's employees and focused his
efforts on a small group of preferred artists. The Mughal style was spread far and wide as a
result of this move. The artists under Jahangir established their own style, which was distinct
from that of the early Mughal artists. The outgoing objectives of Akbar were replaced by a
more powerful vision; deliberate encouragement of painting was replaced by a more powerful
vision. Harmonious designs, softer colours, and exquisite brushwork became essential
elements of the style. Not just in techniques, but also in themes, there was a transition.
The Persian and the indigenous style finally fused into one. The School of Jahangir was noted
for its love of nature. Several subjects from animal and bird life were painted during this
period. The emphasis was on naturalism but there was also a keen desire to reveal the natural
beauty.
He particularly encouraged paintings depicting events of his own life, individual portraits.
Historians suggest that narrative scenes of imperial life were created to promote imperial
authority. Every illustration showed Jahangir as a serene and untroubled ruler, enjoying full
control over the empire. Divine nature of kingship was a popular theme, during Jahangir’s
period and was projected through symbolic representation in which European motifs like
globe and hourglass played an important role. Mughal-Chisti alliance is also evident. In many
instances, Chistis are shown giving him his crown which reflects his desire to come out as a
spiritual leader.
The majority of western forms and expressions were either indianized or modified. Mughal
artists expertly adapted animal symbolism and intricate symbolic representations, with goats
and oxen as preferred emblems for peace as assured by the Mughals' righteous rule. The
emperor was shown in "company of Christian pictures" in two primary ways under the new
iconographic traditions: as a portrayal of a real scene and where both the emperor and the
sacred person are depicted on the same level of reality. The emperor was shown as the topic
of sacred paintings in the next stage, owing to the emperor's wish to be legitimised as a ruler
of both the visible and spiritual realms. Thus, the pictures came to be seen as vehicles to
represent the reality and glory of their own dynasty and rule, and not an adherence to the
religion of Christ.
A clear European influence was the representation of angels, birds and stars in the wall
paintings, which soon replaced the Iranian-Mughal angle or pari figures in traditional
programmes. Thus, while the European forms undergo Mughalization, Mughal forms are
realized with European stylistic techniques. The use of angels has been interpreted in several
ways: to depict the emperor’s dwelling as a “heavenly place”; as a symbol of victory or
power or as expression of rulership in search of the blessing of the angels or as those who
protect & serve the ruler.
There seems a sense of fulfillment, technical precision and craftmanship in these paintings.
Manuscript illustrations were almost given up but there is little exception like the Tuzuk-i-
Jahangiri. The painting ‘Chain of Justice’ not only has a physical, political dimension but also
a psychological dimension. It portrays Jahangir as a ‘just ruler’ having a firm belief in the
secular tradition.

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In the period of Jahangir’s rule, manuscripts became less important than individual pictures.
Milo Cleveland Beach believes Jahangir, with his personal involvement, may have
functioned effectively as the head of the royal studio. Therefore, artistic decisions were made
by the emperor himself consequently introducing his own stylistic preferences in the
paintings.
Numerous individual artists like Nanha, Manohar, Abul Hasan, Bishan Das and Govardhan
etc. were involved in the production of these artistic pieces.
Two important elements in the style of Mughal painting during the first half of the 17th
century have been identified:
Firstly, Jahangir’s paintings seem to highlight a formalist style, i.e., making the work realistic
and preferring the precise recording of contemporary reality.
Secondly, the paintings of this period have broad margins, which are gorgeously decorated
with the depiction of flora and faces of human figures, etc. designs from plant motifs.
Painting tradition in this period can’t be seen as an innovation but as an transformation as he
inherited an established style.
Tradition continued under Shahjahan (1628-58 AD) but on a limited scale as he was more
inclined towards architecture. Harmonious blend of colours, aesthetic sense, realism which
were traits of Jahangir’s style was replaced by the decorative style as noted by Susan
Stronge. Special attention was given to the art of border making and lavish use of golden and
other rich pigments.
Shahjahan was a renowned lover of architecture, but he did not overlook painting, as Ebba
Koch points out. The past tradition of doing portraits, preparing albums, and drawing
publications was carried on under his rule. Paintings showing romantic love scenes and
portraits of female members can also be found. Superimposition of animals and scenes of
performing acrobats were also popular themes for painting. Narrative scenes were united by
one theme unlike Jahangir. Moreover, Allegorical paintings continued under Shahjahan. In
allegorical paintings, he wanted to present himself as an ideal, thus perfection is there in all of
his paintings. For example, in a painting where he is standing on a globe symbolizes his
aspirations to rule over the world.
Portraits under Shahjahan were rigid and formalized with predominance of the Sun and the
Emperor is depicted as a perfect man. In the paintings, attempt to link temporal world with
the spiritual world is shown in a very natural way. Halo, which is derived from an Iranian
concept also continued that represented that the Mughal emperors were illuminators of God.
Furthermore, some sort of rejection of Virgin Mary depictions is evident as it was not
frequently incorporated.
In some works, he is shown with a canopy where his lineage is inscribed and it goes back to
Taimur. This way he is trying to show that he was chosen by god to rule and thus was
legitimizing his rule.
Although, Mughal painting continued to develop technically, it however became static, cold
and stereotyped. Painting lost its liveliness and was confined to the durbar (court). Themes like
musical parties, lovers on the terrace and garden, etc. abound in the Mughal paintings of this
period. Even in the illustrated copy of the Padshahnama, preference was given to the durbar
scenes, while in a few outdoor scenes the expressions were weak and dull. Bichitr, Balchand,
Payag, Muhammad Nadir, etc. were some of the important artists at the court of Shah Jahan.

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The decline of painting, which began in the period of Shah Jahan, became distinct in the reign
of Aurangzeb. Aurangzeb’s neglect of painting led to a dispersal of the artists to different
places of the country which helped in the development of painting in the state of Rajasthan
and the Punjab hills. The Rajasthan Style of Painting combined the themes of earlier
traditions of Western India or Jain School of Painting with Mughal forms and styles. Thus, in
addition to hunting and court scenes, it had paintings on mythological themes such as the
dalliance of Krishna with Radha, or the Barah-masa (seasons).
Painting was largely a court art, and the loss of royal patronage, as well as the closure of
royal ateliers, contributed to its decline, but it did not completely halt. It was exclusive to the
studios of nobles and princes of royal lineage, and it was less naturalistic than court paintings.
These paintings are known as sub-imperial paintings or bazaar paintings since they are based
on the Mughal style. This type of painting was low-cost, less time-consuming, and aimed
primarily at the general public who used it for decorative purposes. The Mughal style's
technical features, on the other hand, were maintained.
Later Mughals did not possess the spirit of Jahangir. A brief revival was noticed during the
reign of Mohammad Shah (A.D. 1719-48). By the time of Shah Alam (A.D. 1759-1806), the
art of Mughal painting had lost its glory.
To conclude, the Mughal paintings had three important aspects: Firstly, they depicted self-
consciousness of human beings. Secondly, they reflected technical refinement and finally
they were fundamentally secular in nature based on physical observation and psychological
insight.
As a result, the Mughal Style of Painting clearly reflects the development of new cultural
traditions based on changing people's and ruling classes' lifestyles. Mughal paintings were a
symbol of the new Mughal monarchy's grandeur, political strength, and authority. They also
reflected Mughal cultural norms, such as attempts to establish high cultural standards through
the proliferation of many painting styles.