Indian Painting under the Mughals, A.D. 1550 to A.D. 1750 c19.4

c19.4

Of all the pictures in this collection none is more typical of the period and of the school than that of the court function reproduced in the frontispiece. Jahangir, ever punctilious in observing the ancient ceremonies and festivals of his house, records in his memoirs that on a date about the middle of July 1614 ‘the assembly of *Gulāb-pāshī* (sprinkling of rose-water) took place; from former times this has been known as *āb-pāshī* (water sprinkling), and has become established from amongst customs of former days’.¹ In such words he refers to an annual festival held in Persia in memory of rain which fell on the 13th day of Tir, and put an end to a severe famine still recollected by the people of that country. Govardhan, the painter, was commissioned to make a picture of the assembly, which is here reproduced. Only a few works by this artist are known, although those which have survived show that he was a man of ability; a painting in the *Bāburnāma* in the British Museum proves that he served under Akbar as well as Jahangir. The inscription on the picture is substantially identical with that written in the memoirs, and the date on the lower part denotes that it was the fifth day of *Amurdād*, which corresponds to the middle of July. In different parts of the picture attendants are seen scattering rose-water (*gul-āb*) from small bottles over the assembly, while at the back of the emperor are a number of minor officials, such as the fly-whisk holder, the gun-carrier, the court musician, and the sword-bearer. In front, paying their respects to his majesty, are the highest officials of the crown, one of whom is offering a *mā’ ul-lahm*, or preparation of almonds, while behind him is a servant with a tray containing a further supply of comestibles. Below is a small band of musicians, some playing instruments, others singing and beating time by clapping their hands. At the bottom of the picture is the *bhisti*, or water-carrier, with his water-skin on his back, and testing the temperature of its contents by sprinkling a little on his finger. Immediately at his rear is a person dressed in white, intent on making notes of the proceedings in a book. This is a clerk (*munshi*), or court reporter, of whom Terry, Roe's chaplain, writes, ‘when the King sits and speaks to any of his people publickly, there is not a word falls from him that is not written by some scriveners, or scribes, that stand around him’. Had the court artist, Govardhan, included himself in his picture—and there is no doubt that he was present at the ceremony—he would have occupied a similar position to that of the scribe, and would be recording his impressions with a brush, or making ‘thumbnail’ sketches, in much the same way. This miniature has much to interest us, as it is a truthful representation of the time, which was an intensely picturesque one. The costumes and the *mise-en-scène* are expressive of a brilliant, though somewhat barbaric, court, for the insistent musical accompaniment which was always present must have added a suggestion of wildness to the whole.