Brooklyn Museum, Gift of Mr. and Mrs. Robert L. Poster, 87.234.7.
Abid's opaque watercolour with gold 'Potrait of Jahangir Holding a Falcon' expresses Mughal sovereign culture more than just an emblem of imperial leisure. Gyrfalcons were a prized hunting gift that travelled across Central Asian, Persian, and northern Eurasian networks from Putin to Jahangir. Shah Abbas of Persia had famously sent Jahangir a prized gyrfalcon, after which Jahangir ordered Abid to paint it because of its rarity. Imperial gifts circulated across Eurasian courts to embody trust, reciprocity, and political recognition. When Jahangir holds the falcon, he performs a relationship forged through exchange. The bird becomes an active participant in the making of empire. Its migration from Central Asian regions to the Mughal court required trappers, traders, animal handlers, sea routes, caravan routes, and indigenous knowledge. Every stage of this journey produced new relations between humans and nonhumans. The falcon carries these relations into the painting. Empire appears through an animal whose life exceeds political borders. The image, thereafter, unsettles the assumption that sovereignty belongs only to the emperor. Jahangir stands in quiet authority, yet his authority depends upon the presence of an imported living being. The falcon, thereafter, functions as a living archive of transregional connections. Abid's painting documents the shared agency of humans and animals in producing the early modern world. The emperor and the falcon stand together as co-actors in a global network of exchange, reminding us that political power is assembled through such entangled relationships.
1 The Portrait of Jahangir Holding a Falcon is a celebrated 17th-century miniature painting from the Mughal court. Attributed to the artist 'Abid, it depicts Emperor Jahangir holding a prized hunting falcon on his wrist, which symbolizes not just leisure, but sovereign power and diplomatic exchange
