30 <strong>the</strong> emperor shah Jahan with his son dara shikoh: folio from <strong>the</strong> shah Jahan album (verso) About 1620 Artist: Nanha (active 1605–27) India Ink, opaque watercolor, and gold on paper; marg<strong>in</strong>s: gold and opaque watercolor on dyed paper; 155⁄16 x 105⁄16 <strong>in</strong>. (38.9 x 26.2 cm) Purchase, Rogers Fund and <strong>The</strong> Kevorkian Foundation Gift, 1955 (55.121.10.36) LInK to <strong>the</strong> <strong>the</strong>me <strong>of</strong> thIs Chapter This pa<strong>in</strong>t<strong>in</strong>g demonstrates <strong>the</strong> Mughals’ focus on portraiture as well as <strong>the</strong>ir love <strong>of</strong> precious objects (see fig. 30). It presents two realistic depictions <strong>of</strong> <strong>the</strong> Mughal royal family—<strong>the</strong> Mughal emperor Shah Jahan and his eldest son, Dara Shikoh, who are shown exam<strong>in</strong><strong>in</strong>g precious stones. funCtIon <strong>The</strong> pa<strong>in</strong>t<strong>in</strong>g comes from an album begun by Emperor Jahangir and cont<strong>in</strong>ued by his son Shah Jahan. <strong>The</strong> album was created for private view<strong>in</strong>g and study by <strong>the</strong> emperor. desCrIptIon/VIsuaL anaLysIs Two figures are seated on a golden throne furnished with luxurious cushions. Shah Jahan admires <strong>the</strong> large ruby clasped <strong>in</strong> his right hand, while his son—who is fac<strong>in</strong>g him—looks toward <strong>the</strong> bowl <strong>of</strong> precious stones rest<strong>in</strong>g <strong>in</strong> his fa<strong>the</strong>r’s left hand. <strong>The</strong> emperor is clad <strong>in</strong> a red and yellow striped turban with a plume, a white doublebreasted gown called a jama, a richly embroidered sash, and a violet garment called a pajama. On his right thumb is a jeweled r<strong>in</strong>g, which could be used to draw <strong>the</strong> str<strong>in</strong>g <strong>of</strong> a hunt<strong>in</strong>g bow. <strong>The</strong> handle <strong>of</strong> a jeweled dagger, signal<strong>in</strong>g his supremely important position <strong>in</strong> <strong>the</strong> court, is visible just above his waist. Pr<strong>in</strong>ce Dara Shikoh is dressed <strong>in</strong> a yellow jama fastened with a sash. In one hand he holds a turban p<strong>in</strong>, <strong>in</strong> <strong>the</strong> o<strong>the</strong>r a fly whisk made from a peacock fea<strong>the</strong>r. Multiple strands <strong>of</strong> pearls adorn Dara Shikoh; under Mughal rule, pearls were a hallmark <strong>of</strong> nobility, and pr<strong>in</strong>ces and pr<strong>in</strong>cesses were almost always portrayed with <strong>the</strong>m. Key Words and Ideas Context Mughal empire, courtly life, Emperor Shah Jahan, natural world, album, figural art, plants, birds, watercolor, <strong>in</strong>k 156 unit 5: chapter 4. <strong>the</strong> mughal court and <strong>the</strong> art <strong>of</strong> observation <strong>The</strong> patron <strong>of</strong> this pa<strong>in</strong>t<strong>in</strong>g was most likely Shah Jahan’s fa<strong>the</strong>r, Emperor Jahangir, who was <strong>in</strong>terested <strong>in</strong> realistic and masterfully drawn depictions <strong>of</strong> people, animals, and plants. <strong>The</strong> wide border that frames <strong>the</strong> pa<strong>in</strong>t<strong>in</strong>g conta<strong>in</strong>s precisely rendered images <strong>of</strong> flowers and birds. In <strong>the</strong> upper right corner are flowers, <strong>in</strong>clud<strong>in</strong>g narcissus, roses, poppies, and crocus. <strong>The</strong> Mughal style <strong>of</strong> creat<strong>in</strong>g botanically accurate flowers was <strong>in</strong>formed by <strong>the</strong> presence <strong>of</strong> European botanical pr<strong>in</strong>ts <strong>in</strong> <strong>the</strong> court (fig. 33). Birds, such as chukar partridges, demoiselle cranes, pigeons, Indian peafowl, and Birds <strong>of</strong> Paradise (symboliz<strong>in</strong>g royalty), are also depicted with skillful realism. All <strong>the</strong> birds are native to <strong>the</strong> Mughal territories and still exist <strong>in</strong> present-day India and Pakistan. Fig. 33. Crocus, folio 61 <strong>of</strong> Le Jard<strong>in</strong> du Roy tres Chrestien Henry IV Roy de France et de Navare, 1608; designer: Pierre Vallet (French, about 1575–1657); Harris Brisbane Dick Fund, 1935 (35.67.3) This type <strong>of</strong> illustration, from a European botanical album, <strong>in</strong>fluenced <strong>the</strong> pa<strong>in</strong>t<strong>in</strong>gs produced at <strong>the</strong> Mughal court. Notice <strong>the</strong> crocus <strong>in</strong> <strong>the</strong> top right corner <strong>of</strong> <strong>the</strong> marg<strong>in</strong> <strong>of</strong> image 30.
30. <strong>The</strong> Emperor Shah Jahan with His Son Dara Shikoh: Folio from <strong>the</strong> Shah Jahan Album (verso)
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