Self-portrait of the artist Daulat and portraits of the artists Govardhan, Bishandas, Manohar, Abu'l-Hasan

This stunning illuminated border from the imperial Gulshan Album (Muraqqaʿ-e Gulshan) is one of the key visual records regarding artistic life at the Mughal court during the reign of Emperor Jahangir. The artist is Daulat and the artwork breaks tradition in that it focuses on the artists instead of on the Mughal elites. Yael Rice’s article "Between the Brush and the Pen- On the Intertwined Histories of Mughal Painting and Calligraphy" studies how Daulat’s self-portrayal as a painter and a copyist reflects his perception of this dual role and the specific content of his Persian inscriptions in this folio. Daulat inserts himself in the bottom left corner of the extravagant border sitting on the ground, engrossed in his drawing. His picture captures him in action as he is using a pen or brush to carry out his work. Various supplies used for his craft surround Daulat, including brushes, paper, and ink. Further, his figure is followed by other elements arranged along the margins of the folio. Daulat's painting resembles the artworks created in the Mughal court since he applies watercolor and gouache colors on burnished paper. His works also demonstrate hyper-realistic portrait arts, which tend to depict individuals' likeness, paying attention to psychologically appealing details. In his work, Daulat skillfully implements fine brushwork (pardaz) while applying little volumes of paints to create the texture of skin, shadows, and facial hair. As the artwork represents illuminated manuscript frames (hashiya), it is worth mentioning that Daulat successfully combines portraiture with decoration techniques, achieving a very challenging goal of mastering both approaches. The major technique employed in the com position of the impeccably delicate and glittering floral ornamentation surrounding the main figures of the painting is the use of different colored gemstones. Daulat applies crushed lapis lazuli to create blue hues; malachite – for deep-green shades and, finally, the red and orange tones are produced using either cinnabar or vermilion. Daulat was among the most successful and beloved painters in the Emperor Jahangir’s royal court. His eminence made Jahangir appoint the master to take on the important task of ornating the borders of imperial albums, such as the Gulshan Album. Daulat’s practice of boosting Persian calligraphic signature where he describes himself as “the lowest of all” showed that royal painters were expected to adhere to royal expectations of humility. The core part of the Gulshan album (92 folios) is preserved at the Gulistan Palace Library in Tehran (catalogue No. 1663); however, a number of the folios become lost and no longer remain in the album. A number of approximately 25 folios have been found in Persia and became known as the Berlin Album because they were transferred to Germany by Heinrich Karl Brugsch in 1860-1861.