Portraits of Jahangir and Shah Jahan

Portraits of Jahangir and Shah Jahan (AKM135), finished in Agra, India, in 1628, is a Mughal folio that measures 55.1 × 34.5 centimeters, and is made with opaque watercolor, gold, and ink on paper. The composition celebrates the accession to the throne of Shah Jahan. It visually affirms the legitimacy and the continuity of emperors. Upper Section: Balchand (rasm Balchand), a court artist, painted a smaller portrait of Emperor Jahangir sitting in the jharoka (a ceremonial window). He applied naturalistic observation and depicted Jahangir’s facial features, double chin, and folds of his clothes. Lower Section: A larger oval portrait of Shah Jahan is seen framed in an eye-catching golden halo. Shah Jahan is shown wearing pearls and gems, as well as an orange turban with a sapphire sarpech and a diamond-embroidered gold belt. He has a visible katar (dagger) under his sash. In one hand of Shah Jahan, a sword rests, while using the other hand he demonstrates his seal. The border inscriptions reflect the signature of Abu'l Hasan, who is also known as Nadir al-Zaman. These inscriptions highlight the full imperial titles of Shah Jahan, thus establishing his lineage from Timur ("The Second Lord of the Favorable Conjunction") and justifying his hold on power. Abu'l Hasan was given the title of Nadir al-Zaman ("Wonder of the Era") during the reign of Emperor Jahangir and was one of the foremost painters in the Mughal Empire. His style was created through many innovations. Instead of using stiff, idealized figures, he infused portraits with personality, mood, and the presence of people. Taking inspiration from European art, which was brought to the Mughal court, he introduced the techniques of chiaroscuro (the use of light and shade), volumetric modeling, and spatial depth, thus making the figures appear both soft and three-dimensional. He also learned to use political symbols in his works, making them speak about imperial authority and divine right of the ruler. His preciseness in brush work helped him demonstrate textiles’ delicateness, jewels’ shine, feathers’ shape, and skin tones. Abu'l Hasan changed Mughal art from a technique of narration and manuscript illustrations into a tool of state ideology and personal portraiture. He created a new method of portraying members of the dynasty, concentrating on psychological insight into individuals and symbolism. He merged Persian lines and colors with European perspective and shades, creating a particular artistic style characteristic for the period of Jahangir and Shah Jahan. His political allegories served as a powerful tool of propaganda depicting the Mughal power.