ART APRECIATION

MUGHALS miniature
• Mughal School in Jahangir’s time
• Jahangir (1605 – 27) – was a man of sensibility and aristocratic tastes.
– He had a predilection for the art of painting which he cultivated much more
than architecture.
– Artists of Jahangir’s time – Aqa Riza, Bishan das, Madhu, Anant, Manohar,
Govardhan and Ustad Mansur.

•  Characteristics of Mughal painting in Jahangir’s reign

– During this period European influence manifested itself more and more.
– The colors became softer and less enamel-like than in the previous period.
– They melt harmoniously together, especially in the more naturalistic
representation of landscapes.
– The custom of copying European paintings and engravings continued.
– Subject matter – * Fables, * Portraits, * Group portraits- Eg. Portrayal of
officers, * Court scenes * Different episodes of his life- Eg. Jahangir
embracing Shah Jahan * Festivals. Eg. Emperor Jahangir celebrating the
festival of Gulab - Pashi. * Birds and Animals. Eg. Falcon, Turkey cock
– Soon after his ascension he ordered muraqqa (albums) composed of
mounted pictures of uniform size (40 x 24 cm).
– Completed around 1618, each folio has either one or several paintings on
one side and on the other exquisite calligraphy.
– Arabesques, or floral and animal motifs around the borders, all richly
interspersed with gold, frame these paintings beautifully.
– The original idea of decorated borders came from Persia around 1570,
but it attained perfection in Jahangir’s time
– The calligraphy pages with light-colored figures in the margins, give a
glimpse into contemporary life and activities hunting crafts occupations,
sometimes even portraits of the calligraphers, artists and courtiers
 – A new type of painting was born during this time – because of the
emperor’s love for nature – delightful pictures of animal and flowers
were represented.
– The painters used to accompany the emperor on his outings and often he
would ask them to paint the lovely blossoms plants, birds and animals. In
the time of Jahangir’s, Hindu and Muslim artists were so closely
associated that if a Hindu artist prepared the borders, the Muslim artist
used to apply colors in the same. This was because of the ideal
personality of Jahangir that the public worked united that is why his
period is known as the golden age.
• Eg 1. Jahangir embracing Shah Jahan
– Shows the same careful portrayal as in Akbar’s time
– It represents the emperor bidding farewell to his son at his departure for the
Deccan.
– The elephant in the front right has been superbly depicted.
– This unfinished picture gives an insight into the working method : how after
drawing the first delicate outlines the painter finished the faces and other details.
• Eg. 2. Emperor Jahangir celebrating the festival of Gulab – Pashi
– This painting faithfully record the pomp and splendor of the Mughal
empire
– Festival of Gulab – Pashi – a Persian festival celebrated by sprinkling
ab-pashi (water) in memory of a rain that ended a terrible famine.
• The emperor sits on his throne in the centre surrounded by courtiers almost
all in full profile. Each of these, however, carefully portrays individual
character.
• Eg.3. Turkey cock
– Shows the majestic bird in glowing colours, feathers ruffled and flap
hanging down.
– The pale background enhances the effect.
– Exquisite decorative bands frame the picture.
• Squirrels on Chenar tree
• – a masterpiece approaching pure landscape, attribute to Abu’l- Hasan
Nadir – al- Zaman, a painter whom the emperor esteemed very highly.
• - The gold background, the orange- coloured leaves on the tree, and the
deer strongly recall the Persian style but the squirrels scrambling up for
safety as well as the frightened birds show a characteristically Indian
perceptiveness and sympathy for nature.
• In the field of portraiture Jahangir perfected another genre initiated by
Akbar. The early portraits show the persons standing or seated either in
front of the buildings or inside.
• The mature Jahangir’s portrait however depicts the full –length subjects
standing against a plain turquoise or green background, either in profile
or three- quarter view.
• Eg. Portrait of Inayat Khan
– A masterpiece of fine draughtsmanship and keen insight into character.
– The artist has caught both the outer appearance of an aristocrat in face of
death- his body debilitated by a life of pleasure and his inner anguish.
• Shah Jahan (1627 – 1658)
– Though interested mainly in architecture, continued to patronize
painting.
– Though the high quality of crafts man ship continued, the inner vitality
started to disappear.
– The paintings of this time lack both the dynamic energy of Akbar’s time
and the keen love of nature shown by Jahangir.
– Even the splendid court scenes became more and more stylized and
rigid , though the costumes had an elegant ,reserved style: white muslins,
pastel shades, delicate gold embroidery.
 – Many night scenes were also painted for the first time in the Mughal period.
– A new technique, consisting of fine, delicate line drawings slightly tinted with washes
of pale colours and gold and known as Siyahi Qalam became fashionable.
• Eg. Emperor Shah Jahan on the peacock throne
– One of the best known Mughal miniatures, has double interest.
– On the one hand it shows the famous peacock throne- now lost but much admired by
contemporaries.
– On the other hand it typifies the portraits of this time.
– The emperor sits in strict profile, a halo behind his head and a flower in his right hand.
• The art of painting saw a downfall in the time of Shah Jahan because of the traditional and
hackneyed style.
• Too much use of gold, silver and bright colours reduced the liveliness in the paintings.
• Soft and rhythmic lines were replaced by dead and harsh lines.
• Mostly the paintings were artificial and unnatural which hampered the real expression of
ideas.
THE END

Thank you.