IMPERIAL WORKSHOP, MUGHAL INDIA, CIRCA 1610

This, the left-hand side of a double-page composition, demonstrates the increasing realism that was introduced into Mughal painting under Jahangir. The composition with its use of open architectural space as well as the Arab subject is reminiscent of the late 16^th century Mughal Akhbar-i Barmakian illustrations. However, in contrast to that manuscript, here each of these delegates has his own character, similar to that which was being introduced in the Mughal court by the artist Abu’l Hasan who was instrumental in the illustration of the Jahangirnama. The emperor himself commented in the summer of 1618 how “on this date Abu’l-Hasan the artist, who had been awarded the title Nadiruzzaman’ (rarity of the time) presented a painting he had made on the opening page of the Jahangirnama. Since it was worthy of praise he was shown limitless favour. Without exaggeration his work is perfect and his depiction is a masterpiece of the age” (Jahangirnama, quoted in Milo Cleveland Beach and Ebba Koch, King of the World, London and Washington DC, 1997, p.119). Other features in our painting indicate at least the influence of Abu’l-Hasan such as the use of three-quarter and frontal faces, as well as various features of the composition. Close comparisons can be made for example in an allegorical diptych by Abu’l Hasan showing the Emperor Jahangir receiving a delegation of Sufis (Walters Art Gallery Ms.W.668, f.37r, and National Museum of Asian Art inv.no. F1946.28).

Here the faces, of a considerable variety of skin tones, are all shaded in the same pale grey colour, almost as if the artist has learned shading from close observation of European prints. In this context it is also interesting to note the pair of pince-nez glasses that is one of the offerings in the golden bowl. Our artist also takes a delight in behavioural quirks, as shown by the dervish holding his hat in place as he bows, and particularly the way the horse, made restive from the wait, is clearly proving difficult to restrain, and yet is the one face looking directly at the viewer. Having one marginal figure looking out of the painting directly at the viewer is another feature of Abu’l-Hasan’s work. It can be observed in both sides in the diptych noted above where on the left-hand side it is a Safavid figure in the foreground while in the right-hand it is a mace-bearing courtier standing behind the emperor’s throne.