King Jahangir, The Fearless Falconer
King Jahangir was a skilled falconer of his time. In this expressive miniature reproduction, he is seen with his hawk, as could be gleaned from the falconry gauntlet (falcons like the lightweight kestrel are flown with bare hands). It is a great white- and slate-coloured beauty with a gold locket around its neck to convey its regal stature. He grips his master’s wrist with one claw, as if on the verge of settling after the day’s flight._x000D_The King’s gaze is as steady and unflinching and nonchalant as the hawk’s. He is dressed in the heavy traditional robe of Mughal royalty - layered silks and velvets, featuring the finest embroidery in the fashion of the times. He carries a dagger at his waist, for what is a king without a weapon to defend what he owns. Close-cropped jooties clad his feet, and the colour of his turban matches that of the scabbard._x000D_His stance is of one whose pleasures now lie only in dangerous pursuits, of which falconry is one. The hand that bears the hawk is eerily stable. The other hand is bare as it reaches out to the animal in measured caresses over its warm, downy breast. It is the onset of twilight upon which it has returned home to its master.
Miniature Painting on Paper
Artist Kailash Raj
6.5" x 9.5"
The Mughal school of painting runs parallel to the Mughal dynasty. It came into prominence in the sixteenth century, during the reign of king Akbar. It reached its zenith under the patronage of Akbar’s grandson – king Jahangir. The reign of the latter’s successor king Shah Jahan saw its decline and finally under the unsympathetic Aurangzeb it breathed its last. Indeed, as a school of art, the duration of Mughal painting was a limited one, extending only over approximately two and a half centuries. Actually, it has often been referred to as not exactly a school, but rather an exceptionally brilliant phase in Indian art.
The roots of Mughal painting lay in Samarkand and Herat, where under the patronage of the Timurid kings, Persian art reached its apogee. Babur, a descendant of Timur, and the founder of the Mughal dynasty, speaks of a person named ‘Bihzad’ as ‘a most eminent painter’. It was with the descendants of Bihzad and the deep personal interest taken by Akbar, the grandson of king Babur, that the Mughal school of art started off with a flourish.
Regarding the aesthetics of Mughal painting, one exceptional feature is its commitment to realism or the delineation of likeness. The subjects were majorly drawn from the extremely rich and magnificent court life under the Mughals. That this was a flourishing art during Akbar’s reign is borne out by the list of more than forty painters found in a book written during his era.
However, it was under Akbar’s son Jehangir that Mughal painting gained its highest peaks. Not only portraits and hunting scenes, but also scientific studies of botany and natural history found favor with the artists under the king’s support. The Mughal painters were asked to paint unusual specimens of flora and fauna in their exact likeness. Some of these skilfully painted pictures have survived till today, narrating to us the uniqueness of those rich times.
Under the reign of Shajahan, son of Jahangir, the Mughal school of painting entered its decline. The actual treatment of the subject matter is replaced with more decorative embellishments like rich flowery borders etc. Under Shahjahan architecture scaled new peaks (Taj Mahal etc.), but painting deteriorated. Finally, with the rise of Aurangzeb, Mughal painting breathed its last.