Originally created in Agra (or the imperial Mughal court in India) around 1610 under the patronage of Emperor Jahangir. While its exact journey to Persia remains undocumented, historians suggest the album containing this folio (the Gulshan Album) was taken from India to Persia (modern-day Iran) around 1741, likely acquired by Nader Shah Afshar during his sack of Delhi. By the mid-19th century, before his accession to the throne in 1848, the album was documented as the personal property of the Qajar crown prince Naser al-Din Shah Qajar in Tabriz. It was subsequently moved to the royal library of the Golestan Palace in Tehran, Iran, where the core of the album (including this folio) has remained preserved since.
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.
the painting is very striking and i personally really like the artworks of this time, and especially the fact that they are so vibrant and rich and capture the royalty of the time perfectly, it immerses you in the world of courtesans and artisans and the activities they used to engage in.
