1 - 5 February 2024 | Hotel Clarks Amer, Jaipur

On Jahangir’s Paintings

On Jahangir’s Paintings

Mehreen Chida-Razvi in conversation with B.N. Goswamy

The exquisite paintings from the Mughal world have long captivated the hearts of historians and art connoisseurs, but beyond their sheer beauty lies a wealth of profound symbolism. To unravel the symbols hidden within these artistic legacies left behind the Mughal atelier, renowned art historian B.N. Goswamy engaged in a fascinating dialogue with Mehreen Chida-Razvi, offering us a captivating glimpse into the social and political messages they carry.
 
In this enthralling session focused on Jahangir's paintings, the scholars embarked on a journey of comparative analysis, juxtaposing the work Jahangir Preferring a Sufi Shaykh to Kings with a painting completed during his father's reign, Akbar Presiding over Religious Discussions in the Ibadat Khana in Fatehpur Sikri. Chida-Razvi astutely observed how the aesthetics of the Mughal empire had evolved, influenced by diverse cultural interactions at the Mughal court during Jahangir's time. While both paintings eloquently portrayed the presence of their respective emperors, the distinction lay in the representation of Jahangir. The figure of Jahangir, seated on an hourglass, showcased an artistic fusion of European notions, characterised by technical finesse, meticulous shading, and allegorical brilliance—an innovative departure from the artistic conventions of Akbar's reign.
 
Amidst the captivating discussion, they shed light on other intriguing portraits of Jahangir that depicted him as the emperor even before he ascended the 'Takht-i-Jahangir' (Throne of Jahangir). Notably, the work Salim Enthroned revealed Jahangir projecting himself as royalty years prior to his formal coronation, radiating imperial authority against a pristine background. These symbolic elements reflected how Mughal paintings were infused with layers of meaning, illustrating Jahangir's astute sense of identity and authority.
 
The conversation further delved into the captivating use of symbolism in Mughal paintings, such as the incorporation of halos—a concept borrowed from European influences. The painting Durbar of Jahangir beautifully portrayed the divine right to rule through the halo, accompanied by an image of Virgin Mary above the emperor's head. This fascinating infusion of Christian imagery in the Mughal durbar could be traced back to the court of Akbar, where early interactions with Jesuit missionaries introduced Christian elements to Mughal art, sparking a lasting tradition of European influences.
 
The scholars also explored how Mughal paintings served as political propaganda, employing imagery of Jahangir capturing cheetahs not only to portray royal activities but also to symbolise the ruler's power to control nature and the land. These visual narratives ingeniously conveyed political messages to the viewers, enriching the paintings with multifaceted meanings.
 
In the midst of this enlightening conversation, Goswamy posed a thought-provoking question: Who was the intended audience for these magnificent works of art? Chida-Razvi emphasised that these were elite productions, likely intended for a limited audience. However, on special occasions, they were exhibited to selected guests, offering a rare glimpse into the splendours of the Mughal court. The scholars mused on the significance of such moments when the creation of the image itself became as important as those who beheld it.
 
The session culminated with an exploration of the captivating painting Jahangir Triumphing over Poverty, where the emperor is seen standing over a lion and lamb peacefully lying together. This imagery symbolised a peaceful empire, echoing the Solomonic ideals of a just and harmonious kingdom. Goswamy also identified a figure riding a fish, which he recognised as the first man, Manu, atop Matsya, the fish incarnation of the Hindu god Vishnu. However, Chida-Razvi offered another interpretation, suggesting the figure might represent a Sufi saint known to travel on a fish. This exemplified how art holds the power to evoke diverse interpretations, allowing each observer to glean unique insights!