In 1600, Dharmdas in the Mughal court of Akbar illustrated this artwork for the Akbarnama (autobiography of Akbar). Made using opaque watercolor, ink and gold, the painting depicts an event from the aftermath of the Battle of Ankara. The battle was fought between Sultan Bayezid I of the Ottoman Empire and Timur in 1402 and was an important event in the history of Central Asia. Timur achieved a comfortable victory and the Ottoman Empire plunged into a civil war. Bayezid I was then captured by Timur. Although the event depicted occurred two centuries before the painting was made, it had political significance for Akbar's court as the Mughal dynasty traced its ancestry to Timur. An elaborate courtly gathering is depicted in a richly decorated palace complex. The victorious ruler, Timur is depicted sitting on a raised throne in the centre. The dark blue carpet decorated with intricate floral patterns and the detailed tiled architecture in the background portray courtly luxury. Surrounding the ruler are several courtiers, attendants, musicians, and servants. On the right side of the ruler, noblemen are depicted standing respectfully before the ruler, while other people are depicted observing the proceedings of the Court. The Persian inscription in the top portion of the painting is the accompanying description of the illustration. The painting seems like an ordinary court scene, but a deeper and nuanced view unveils the interplay of power, conquest, and legitimate kingship. The depiction of the Ottoman ruler, Bayezid I before Timur symbolizes the triumph of one monarch over another. Dharm Das has specifically depicted the aftermath of victory instead of the battle, portraying Timur as a calm and authoritative sovereign surrounded by the ceremonial splendour of his court. The emphasis is therefore on the establishment of political order following his victory. Timur is depicted occupying the highest and central position, while all the other people are depicted around him in subordinate roles portraying his supreme authority. This painting also imparts the broader ideologies of the Mughal court. Mughal rulers claimed their descent from Timur and such depictions helped to legitimize and strengthen the Mughal sovereignty. By celebrating Timur's victories and portraying him as an ideal ruler, the painting praises the heritage from which Akbar traced his descent.
This is not just a depiction of the Ottoman Sultan Bayazid's defeat by Timur in the battle of Ankara (1402). In this work the artist is more concerned with status, power and the vulnerability of earthly rule. Timur is positioned on his richly decorated throne higher than every one, serene and still, whilst Bayazid, in front of his captors and an entourage of courtiers, is positioned below, depicting the change of status that has occurred.
I think that the moral of the painting is the fleeting nature of power, both worldly and martial. The court, the courtiers, the musicians and the attendants, they all celebrate the power of Timur over the defeated and disgraced Bayazid, but in doing so the transient nature of such power is evident in the scene. The formerly great and powerful ruler is now begging at the feet of his conqueror and this is in line with themes commonly found within the histories of Persianate and Mughal art-that power lies not in martial strength, but with destiny and the fortunes of history.
In the context of the Akbarnama it could have been a reminder to its readership that rule brings fame and exposure and that all mortal power is ephemeral.
