From Padshahnama. 1640 AD.
After the Mewar campaign, Jahangir sent Prince Khurram to conquer the Deccan Sultanate. This was another task left incomplete by Akbar. During this campaign, the Mughal court shifted to Mandu in Madhya Pradesh. After more than a year Prince Khurram returned from the Deccan campaign. He brought the enormous wealth of the Deccan with him. Jahangir was so overjoyed to see his son that he left the throne and went to embrace him. This painting depicts that touching moment. It is at Mandu that Jahangir conferred the title of "Shah Jahan" on Prince Khurram. Jahangir has described this scene in his Jahangirnama.
The artists of Shah Jahan atelier were well versed in realism. In fact, prior to the modern period, realism had reached its zenith during the Shah Jahan period. The individualization of each figure is the hallmark of painters of Shah Jahan period.
Here each figure is unique. In fact each person has been identified by art historians. We have Raja Bikramjit of Bikaner, Asaf Khan--Shah Jahan's father-in-law, and others. The painting beautifully depicts the hierarchy of the Mughal court and of the Medieval society.
Here each figure is unique. In fact each person has been identified by art historians. We have Raja Bikramjit of Bikaner, Asaf Khan--Shah Jahan's father-in-law, and others. The painting beautifully depicts the hierarchy of the Mughal court and of the Medieval society.
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