Indian Painting under the Mughals, A.D. 1550 to A.D. 1750 c20.41.2

c20.41.2

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.