Indian Painting under the Mughals, A.D. 1550 to A.D. 1750 c20.41

Language: English

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Jahangir added his own portrait to the family group of the ‘ Princes of the House of Timur ’, but as it was not originally intended to form part of the composition the appearance of the picture is not improved by the introduction, as the central portion thus becomes rather overcrowded and unbalanced. On obtaining possession of the sceptre, however, all the monarchs seem to have indulged in certain formalities, to show to the world that they had assumed power. One in which they always indulged was that of adding their own personal seal to much of the state property, as for instance the most valuable of the books and illustrated manuscripts in the imperial library. On the fly-leaf of those which they appreciated most they occasionally added in their own handwriting a florid inscription relating to themselves and the regard they felt for such a work of art. It was somewhat the same idea which inspired them to introduce their own portraits into the Timurid family group. Jahangir himself was very proud of his origin, which shows itself in several similar paintings, and specially in a peculiar portrait-picture in the Rothschild collection. The lower part of the miniature is occupied by a series of twelve circles, in each of which is a likeness of the emperor, from the time he was a small child until he was a man of forty years of age. Above is a genealogical tree tracing out his descent from the Amir Timur, in a well-designed calligraphic panel ;

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the whole is cleverly executed, but as a picture it is more interesting than artistic. Although Jahangir liked to see pictures of himself on all occasions, nevertheless he was also interested in the portraits of others. The numerous pictures of public functions which figure in collections of Mughal miniatures were often only the artist’s excuse for a series of portraits, as they were a suitable opportunity for recording the features of all those who were in attendance on the court, the actual subject of the painting being in itself of secondary importance. Such an idea was no doubt mainly responsible for the picture reproduced in the frontispiece, which is a representation of an ordinary court ceremony, but at the same time it gave the artist an excellent opportunity to immortalize every one present, from the highest official in the centre to the insignificant chorus girl in the corner. The names of some of the principal people in the picture are minutely written near them, and, facing the emperor, inscribed in this manner will be seen three prominent noblemen, who took a large share in the government of the country during Jahangir’s reign. At the top of the group in front of the throne, light of complexion, and wearing an orange-coloured turban, is I‘timad-ud-daula, whose name is now associated with one of the most charming examples of jewelled architecture ever devised by the master-builders of the Mughals.

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This is his tomb at Agra, a white marble pavilion profusely inlaid with precious stones. His chief claim to fame, however, is that he was the father of Jahangir’s queen, Nur-Jahan, who herself was one of the most attractive and at the same time remarkable women of her time. I‘timad-ud-daula had a most distinguished career, and retained all his life the friendship of his royal son-in-law, so much so that on his death the emperor wrote, ‘ he was a wise and perfect Vizier, and a learned and affectionate companion ’. Immediately below him is his son Asaf Khan, who was one of the pillars of state during Jahangir’s reign. His tomb near Lahore was, in its time, a beautiful building profusely covered with exquisitely coloured tiles, but, alas, much of its decoration is now decayed. It seems not unlikely that both father and son were of an artistic disposition, as apart from the beauty of their tombs both were recipients of copies of the Jahangir-nama, most probably fully illustrated, from the hands of its royal author. Jahangir gave such works of art only to those who he knew would appreciate them and enjoy their contents. Behind Asaf Khan, and leaning on a staff, is the portly figure of the Khwaja Abu’l Hasan, most of whose service was spent in the Deccan, of which part of the Mughal empire he had an intimate knowledge; Jahangir made great use of the Khwaja’s shrewd advice in the administration of this distant and difficult portion of his dominions.