Exploring Mughal…

Exploring Mughal Aesthetics: Art and Architecture in Jahangir’s Memoirs

Mughal art and architecture were intricately linked to the personal preferences and artistic sensibilities of three prominent emperors: Akbar, Jahangir and Shah Jahan.

After Akbar’s death, his son, Nuruddin Muhammad, (also known as Salim, or Jahangir) ruled the Mughal Empire from 1605 to 1627. As a prince, Jahangir established a personal workshop in Allahabad, favoring individual artists and realistic portraiture. He also had a profound interest in studying plant and animal life, incorporating European artistic influences into his works.

This analysis will focus on Jahangir’s contributions to art and architecture from his memoir, the Jahangirnama or (Tuzuk-I-Jahangiri, meaning “Jahangir’s Regulations”), inspired by his great-grandfather Babur. The term “tuzuk,” meaning “regulation” in Turkish, reflects Jahangir’s style of governance. Jahangir began his memoirs in 1605, but due to health issues in 1622, he enlisted his secretary, Mu’tamid Khan, to assist in its completion. However, the memoir was abruptly left unfinished in 1624.

Major Cities and their Architectural Styles Described in Jahangirnama.

*Fatehpur Sikri: * In his memoirs, Jahangir recalls that in August 1571, his father ordered the construction of a grand fortress, leading to the rapid emergence of a splendid city with mosques, educational institutions, and charitable organizations, all made from intricately carved red stone and surrounded by forests.

*Agra: * Jahangir highlights Agra’s importance, where he ascended to the throne. Before his birth, Akbar replaced existing structures with a new fort of finely chiseled red stone.

*Kashmir: * Jahangir describes Kashmir as a timeless paradise with stunning landscapes and abundant streams. He documented routes to Kashmir, commissioned bridges, and documented the Gulafshan Garden, a mosque, commissioned by Babur. Jahangir mentioned that the region’s architecture was mainly built wood, homes topped with mud roofs and tulip bulbs. Jahangir also mentions the mosque built by Sultan Sikandar and the innovative method of submerging boats loaded with stones used for temple construction by Sultan Zaynul’abidin.

Jahangir’s Passion for Art.

Emperor Jahangir, like his father Akbar, had a deep admiration for paintings and has described his passion for paintings extensively in his memoirs. He collected illuminated Persian manuscripts and artworks, sending envoys to Persia and other countries to acquire them, and also sought to include European paintings in his collection. Jahangir’s reign featured a courtly and aristocratic artistic style, with a particular emphasis on portraitures.

During his travels to Kashmir and other regions, Jahangir was accompanied by two or three artists who documented significant events through miniature paintings, often depicting hunting scenes with Jahangir portrayed with a golden halo.

Jahangir’s interest in European art, especially works featuring Christian themes, is recorded in the letters of Sir Thomas Roe but Emperor was of the opinion that Indian artists were undoubtedly capable of creating work that was just as impressive as their European counterparts.

Artistic works frequently depict portraits of Jahangir’s sons, the princes Sultan Parviz and Khurram.

An exceptional miniature from the early 17th century shows Jahangir examining a miniature that has been offered to him. By studying various miniatures crafted by different artists, Jahangir gained insight into their unique styles, allowing him to recognize their works even without the artists’ signatures.

Falconry, the ancient practice of training birds for hunting, was popular among the Mughals, especially Jahangir, who often documented his avian hunting experiences in his memoirs. The falcon, frequently gifted to the emperor, became a prominent theme in Jahangir’s artistic folios. The Jahangirnama includes many references to elephants, which were not only hunted but also given as gifts in the Mughal court. These magnificent animals frequently participated in battles against each other and played a significant role in royal processions, further symbolised the might of the Mughal Empire. Both animals and birds often appeared in the miniature artworks commissioned by Jahangir, symbolizing power, royal authority, and emperor’s personal interests.

The Jahangirnama reveals that twelve hundred ducks were hunted during the emperor’s four-month stay in Ajmer. In Kashmir, Jahangir meticulously documented the region’s topography, agriculture, and wildlife, noting both domesticated chickens and wild ducks. While exploring a garden in Kashmir, he poetically described his observations of the ducks.

Conclusion:

In conclusion, Jahangir’s memoirs highlight his profound appreciation for art, architecture, and nature. His impact on Mughal aesthetics, particularly through his lifelike portraits, detailed landscape records, and patronage of the arts, has left a lasting legacy in the cultural history of the Mughal Empire.

References

Archaeology, Center for Art and. n.d. Imagining the Nonhuman: Mughal King Jahangir’s Folios of Mammals, Birds, Plants. Accessed March 5, 2025. https://aims.vmis.in/caa-exhibitions/exhibition/jahangirs-folios-of-birds-animals-and-plants/.
Dimand, Maurice S. 1944. The Emperor Jahangir, Connoisseur of Paintings . The Metropolitan Museum of Art.
S.P.Verma. 2000-2001. “MUGHAL PAINTING, PATRONS AND PAINTERS.” Indian History Congress. Indian History Congress. 510-526.