Shah Jahan Hunting

Shah Jahan Hunting

Painting from Padshahnama
 1645 AD.

         Besides depicting the major events of Shah Jahan, the Padshanama also captures Shah Jahan' passions and activities.  Here we see him on a royal hunt near Palam. According to Shah Jahan he had killed eighteen black bucks and deers without missing a shot. Hunting was a royal pass time. It not only improved the marksmanship of the emperors, but also was symbolic for the subjects: the emperor as a protector of the people from the wild nature,  from the wild beasts.  Even the royal ladies used to go out and hunt. According to Jahangir once he and Nur Jahan went for a hunt. While Jahangir missed the shot while trying to kill a tiger, Nur Jahan shot him dead just with a single shot.
       Such paintings not only tell us about the royal passtimes, they also tell us about the weapons which were used at the time. Here Shah Jahan is using a long musket riffle.  Moreover,  these Mughal paintings would become the role models for the Rajput style of painting which we will dicsuss shortly.

Shah Jahan Tieing the Sehra on Prince Data Shikoh

Shah Jahan  Tieing the Sehra on Prince Data Shikoh

A painting from Padshahnama
1635 AD.

         Prince Dara Shikoh was not only the Crown Prince, but was Shah Jahan's favourite son. Here Shah Jahan is shown tieing the 'Sehra' on the face of the prince. Interestingly the sehra is the same one, made out of pearls and gems, which Shah Jahan had worn when he married Mumtaz Mahal. It was a family heirloom.  In this painting we also see Aurangzeb standing, second from Shah Jahan, towards the right side of the painting. Ironically the battle between Dara Shikoh and Aurangzeb over the Mughal throne would seal the fate of Hindustan.  But this painting has caught the happier moments of the royal family.
        The artist has cleverly divided the painting into two parts: the upper for the royal figures, the lower for the group of dancers and courtiers.  This depicts the social division of the medieval society. Yet, it is the lower group who is full of life and gaiety.  The women are dancing with free abandonment.  Joy of life is confined to the lower strata; ceremonies, to the upper strata. So is life.

Shah Jahan Receives His Three Eldest Sons

Shah Jahan Receives His Three Eldest Sons

by Bichitra
Painting from Padshahnama
1640 AD.

          Having revolted against Jahangir, Shah Jahan was on the run for three years. During this period, Nur Jahan had kept Shah Jahan's three sons as hoatages. In 1627 Jahangir died in Kashmir.  Asaf Khan, Shah Jahan's father-in-law told Shah Jahan to march to Agra and ascend the throne. Shah Jahan rushed from Nasik to Agra and was declared the next Emperor on 14 Feb. 1628. A month later, Shah Jahan was reunited with his sons. This painting depicts the poignant moment. While Prince Dara Shikho touches Shah Jahan's feet, Princes Shah Sujha and Aurangzeb solemnly wait for their turn. Asaf Kahn protectively stands behind the two princes.
           Bitchitra has maintained the solemnity of the occasion by adhering to a formal symmetry in the composition.   Yet all lines, diagonal, vertical or horizontal lead the eyes to Emperor Shah Jahan. The palette is one of the most colorful,  yet the colors are subdued and subtle.  This is certainly one of the finest Mughal miniatures.

Jahangir Receives Prince Khurram on his Return from Deccan

Jahangir Receives Prince Khurram on his Return from Deccan

Painting by Ramdas and Murari.
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.