Indian Painting under the Mughals, A.D. 1550 to A.D. 1750 c19.10

Language: English

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From this picture of an interior scene of Jahangir’s durbar we may turn to an opposite effect of an exterior, shown on Plate XXXI, a miniature bearing a name which may be read as Manohar. The work of this artist may be studied in several of the books illustrated during Akbar’s reign, so that he was a man of some repute when Jahangir came to the throne. The picture, evidently one of a series representing the celebrations that took place at the coronation of the last-named emperor, portrays a procession in which the state elephants bearing the royal standard play a leading part. Roe, who saw many such pageants, describes these particular animals as ‘being Lord Elephants, (who) had their chaynes, belles, and furniture of Gould and siluer, attended with many gilt banners and flagges . . . the first having all the plates on his head and breast sett with rubyes and Emeraldes, beeing a beast of a woonderfull stature and beauty. They all bowed downe befor the king, making reuerence very handsomely.’ The two elephants here depicted marching in the place of honour in the procession are the *nishān kā hathī*, or standard bearers, one carrying Jahangir’s personal ensign of the lion and the sun, derived from a Persian source, the other an imperial banner emblazoned with a phoenix and a dragon of Far Eastern design. The latter was obviously obtained direct from China, as it contains the *Ssu ling* or ‘Four Divine Animals’;

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on the reverse of it would be the other two creatures of the series, the tiger and the unicorn. On the backs of the elephants are two richly diapered coverings which may also have been produced by Chinese looms, all of which shows that the Mughals had no little admiration for the arts of the Far East, and used examples of them in their regalia. Flanking the elephants are two groups of mounted musicians energetically blowing on their trumpets, *turhī* and *nafīrī*, or beating the drums, *naqāra*. In front of these is a line of *jhandī-bardārs* bearing gaily coloured pennons or *shān-o-shaukat*, and with them are several *bandūqchīs* who are carrying guns wrapped in brocaded coverings. Behind the elephants are more musicians, one group of men, the other of women, all playing instruments or vigorously singing and beating time. In the upper group, called *kalāvat* or *gavayyā*, which is a mixed assembly of Hindus and Muhammadans, two men will be observed with stringed instruments like large mandolins, known as *sarūd*. The elder of these two performers has been identified as Tansen, the most skilled musician at the Mughal court, and one whose fame as a singer lives to this day. The younger performer below is Shauqi, who afterwards took the place of Tansen, and of whom Jahangir writes that he is ‘the wonder of the age’ and sings ‘in a manner that clears the rust from all hearts’.

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Some of the other members of the band are playing on the *kamāncha*, a stringed instrument, with a small bow, while the remainder are keeping time by means of the *tālī*, or clapping of hands. In front of the younger *sarūd*-player is a man with folded arms and a paper in his hand. He is the court poet, probably Manohar Sekhawat Kachhwaha, son of Raja Lonkaran, a Hindu who had studied Persian and wrote verses in this language. During a halt in the proceedings he will recite a poem in praise of the emperor, that he has composed for the occasion. The women musicians, called *bāndī*, are also proclaiming the magnificence of the monarch in song accompanied with the drum, *dholak*, and tambourine, *duff*. With them will be noticed two male drummers, who are their *ustāds* or instructors. The direction in which the procession is moving is at first sight not clear, as some portions of it are facing one way and others another. It is, however, progressing across the picture from right to left, but the musicians are walking slowly backwards, so that the monarch, before whom they are passing, may get the full benefit of their performance. Its order and pace are regulated by the *chharī-bardār*, or master of the ceremonies, who will be seen at the top of the picture carrying out his duty in an active manner.

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At his side is a small but very interesting group of buffoons, who supply the comic element in the proceedings, performing extravagant dances and burlesquing everybody from the highest officials downwards. They are known as *bandahs*, and are generally Muhammadans, while their mimicry is called *swāng*. Right at the back of these is the usual crowd of menial servants, cautiously approaching to view the *tamāshā*, the Roman world, and the most important events of the reign of Antoninus Pius, are related by his biographer, and the reader will not be sorry to find them here in a more concise form. The reign of Antoninus Pius is marked by the rare advantage of furnishing very few materials for history; which is only another mode of saying that its happiness was complete. During the twenty-three years of his administration, the Roman empire was governed by the same invariable maxims of justice and peace. The natives of a vast extent of country were protected by the same laws, and enjoyed the same privileges. The frontiers were defended by the same legions, and the same spirit of moderation and equity prevailed in the councils of the emperor. The death of Antoninus was lamented as a public calamity; and the memory of his virtues was preserved by the gratitude of his subjects, and the imitation of his successor.