Indian Painting under the Mughals, A.D. 1550 to A.D. 1750 c21.23

c21.23

When the guiding hand of Jahangir was removed, a distinct increase in the influence of the West is observable in the painting under his successor, Shah Jahan. It does not appear that more European pictures came into the country in his reign—the Mughal emperor’s tastes did not express themselves specially in this direction—but a favourable opening having been made by his predecessor, the interest in Western art was bound to progress. That he soon began to surround himself with examples of occidental painting is shown by the picture reproduced on Plate XXIV. In the frieze above his throne several winged figures and nimbed cherubim are to be seen, floating on clouds, a *motif* that became very common from now onwards, as we see it employed in a variety of ways in Mughal art. Other features of a like nature may be studied in the same picture, as for instance the naïve scene painted on the marble dado below the emperor, of the scales of justice, and the lion and the ox. But one of the most interesting details in this miniature, unfortunately not visible in the reduced plate, are the lower edges of two painted panels [Figure: LXVI. Prince conversing with a priest; painted c. A.D. 1660 Collection of M. Demotte, Paris.]