Jahangir: The Mughal Superiority as a Minority

Emperor Jahangir (1569-1627) (gouache on paper)." Bridgeman Images: The Bridgeman Art Library, edited by Bridgeman Images, 1st edition, 2014. Credo Reference

Gallery Guide - Understanding South Asian Art, Smithsonian,

This portrait is called, “Jahangir prefers a 

Sufi Shaikh to Kings”, it was created by a Hindu portraitist, Bichitr. Before we delve into the art stylings of Bichitr, it is important to know the political background of the Mughal Dynasty in which Jahangir ruled. The fourth Mughal ruler, Akbar, Jahangir’s father, advocated for the incorporation of multiple cultures within the identity and arts of the dynasty (Lecture 11/16). Akbar advocated for Sulh-i Kul, meaning “state of peace and reconciliation for all”. Akbar wanted to include all cultures into the Mughal dynasty specifically because Muslims were a minority in the region Akbar ruled. All higher officials and spiritual leaders were against the idea except for the leaders of the Chishti Sufi order. As Akbar later founded a new religion that focuses upon himself, he imitated Sufi orders and traditions, revealing the overarching influence it had on his reign. Akbar started to follow the Sufi order when, “[he] began a series of discussions with Sunni and Shia Muslim, Hindu, and Christian intellectuals in the Ibadat-Khana (literally meaning "house of worship") at Fatehpur Sikri. He found the Muslim ulama who participated in these discussions to be dogmatic and petty, resenting both their ideas and their control of much of the revenue of the empire in the form of land grants,”(Streusand). With the rejection of traditional Muslim ideas, whether it be political or religious, Sufi order blossomed.

Jahangir, who reigned from 1605 to 1627, became Mughal emperor after his father Akbar. Moreover, his father’s influence surrounded him with Sufi themes and ideals, hence his preference to the Sufi Shaikh. Similar to his father, Jahangir was a patron of the arts, especially paintings (Jahangir (1569 to 1627)). Jahangir’s reign was peaceful and was said to be the peak of Mughal prosperity and art production, however towards the end of his rule, rebellion constantly arose causing the gradual decline of Jahangir’s era.

At first glance, the title of the work implies the artist’s attempt to portray the seeming preference of the emperor's support local beliefs. In more blatant terms, the goal here is to allow those viewing the image to understand their ruler’s preference of the Sufi culture in relation to other prominent beliefs. Despite being a Hindu painter, Bichitr worked under Akbar from the Mughal Dynasty as well as Jahangir and Shah Jahan. Bichitr’s style of painting was consistent, regardless of the subject of the work, he employed the same style. One signature technique Bichitr utilized in his art was his lines; the clear outline of each figure allows Bichitr to place a stronger emphasis on the shapes within the image, as seen within the distinct patterns used for Jahangir and his seeming mythical stature and hourglass throne. The shapes are drawn in a two-dimensional form with the main premise being that of Jahangir himself surrounded by supporting elements such as the Shaikh and Kings. For example, the figures of the image are very distinct and there is no blur or fade between each individual despite their specific geometric patterns. Another aspect Bichitr was known for was, “... a low horizon to underline the importance of the central figure (Bichitr (c. 1550 - c. 1650)). Ultimately, this allows Bichitr to establish his focal point for the artwork , establishing his importance and stature. Bichitr purposely used an extensive design of darker hues to emphasize Jahangir in the portrait. This contrast creates a sense of illumination coming from Jahangir, light imagery was often a way to symbolize a holy figure as seen in the Quran. Furthermore Jahangir is seen to have a background of a circle with spokes on the end, which can be interpreted as a halo. Upon further examination, a crescent moon is seen around a gold disc, seemingly representing the sun, thus this imagery represents day and night blending the sun and the moon, showing Jahangir’s rule and truth. As a result the brilliance that emanates from Jahangir functions as a dispersion of darkness and relates Jahangir to the ideal of God as light, offering Jahangir a justification for his now divine rule (Kapadia).

Another aspect of Bichitr’s work is that his facial expressions are very precise. In this scene it can be seen that,  King James I of England and an Ottoman Sultan are being ignored by Jahangir preferring to acknowledge the Sufi Shaikh.. This interaction or lack thereof clues the audience into what Jahangir’s spiritual leanings might have been. It also shows that while politics are a part of a Mughal emperor’s life, religion and spiritual needs were important to Jahangir as well.. Jahangir and the Sufi Shaikh seem content with each others company, and it is clearly shown in the upturned lips and unmarked forehead of each person. On the other hand, the Iranian and European royal visitors seem annoyed that Jahangir is not giving them his time; this is apparent through the precise facial features of these two individuals with down turned lips and marked foreheads. Bichitr can convey the message of his work through the the facial expressions of the subjects in his portrait, such a distinction creates the perception of interaction. Since the facial features represent the emotions of the individuals it highlights not only their dismay but also the important of Jahangir. These prominent figures of high standing are shown to be distraught at their presence not being acknowledged, not only giving important to the Shaikh but also giving priority to the attention of Jahangir.

The location of each person represents their level of importance in relation to Jahangir, as the main focus of the work.. Jahangir is the highest, or tallest person in the portrait placing him in as the epicenter of the portrait. Taking the emperor’s beliefs into consideration, the Shaikh is next in terms of stature, emphasizing his important to Jahagir. The Ottoman Sultan is next in line of importance having his hand folded in respect to Jahangir despite the emperor's attention being placed elsewhere. King James I is placed quite a bit lower seemingly dejected at being ignored and facing away from Jahangir. However, the very last figure seen is Bichitr himself, he is, “shown wearing an understated yellow jama (robe) tied on his left, which indicates that he is a Hindu in service at the Mughal court—a reminder that artists who created Islamic art were not always Muslim”(Kapadia). Bichitr incorporated himself into the portrait, this slight inclusion emboldens the claims set forth by both Jahangir and his father, Akbar, to create and foster a peaceful coexistence between cultures while maintaining Islam as the predominant belief.

If one looks closely to the interaction between the Shaikh and Jahangir, the difference of affluence is clearly seen. While one can argue that the emperor’s attire is not entirely eccentric, the jewels around his fingers seem extravagant, establishing a sense of superiority over the Shaikh. An Interesting factor about the shaikh’s mannerisms is the fact that he takes the book that Jahangir is offering in a cloth rather than his own hands. The shaikh does this because he is, ”...avoiding physical contact with a royal personage, a cultural taboo,”(Kapadia). This action creates a distinction between Jahangir and the Shaikh as it separates the two, as the touch of Jahangir is a direct representation to his power and stature. As an emperor, Jahangir is attempting to establish a boundary or distance between himself and the common man, ultimately placing importance on his sheer presence. Thus it reveals to his people that Jahangir is of a higher divinity than those around him.

Despite King James I being quite distant from the focal point of the work he can still be seen having his hand slightly angled above his sword. In European paintings, Kings are commonly known for having their hands placed upon the hilt of their swords. However if seen with this gesture it may be seen as though he posed some threat to Jahangir, foreseeing this potential outcry Bichitr modifies this to both meet European custom but satisfies the Islamic audience. Though slight, this modification gives insight to the creation of the work as Bichitr and Jahangir were aware of this potential discretion. By avoiding this misinterpretation it reveals the attention to detail to be structured to fit their intended goal, of which it preserves the cultural diversity and acceptance.

As a whole, the image serves to promote the ideology of cultural acceptance while playing towards local values. The use of size and location creates an understanding of importance, or it establishes the rankings of the member within the portrait. By doing so, it emboldens the rule and stature of Jahangir as he is compared amongst other Kings and prominent figures. Furthermore, the imagery seen surrounding Jahangir reveals a direct relationship to a divine figure, through elements seen within the Quran(i.e God as a light).. Not only does this continue to build the character of Jahangir it also separates him from the common man. While he acknowledges the Shaikh it reveals him to be a ruler who is amongst the people but of a higher enlightenment in comparison. Ultimately, this work portrays the political power of Jahangir, promoting his audience and comparing him to prominent leaders of the time despite his own Muslim following to be quite small. Thus it proves that despite their small following in India, their presence is amongst the most important.  Spiritually, this continue the belief of Sulh-i Kul by using European elements within an Islamic art form and the inclusion of multicultural figures. In terms of context, the image drew attention because of the use of European styling for an Islamic art work. Namely, the angels (which are foreign to Islamic art), provide an interesting area of study by exploring elements beyond that of common artworks.

Written by Shaila Sharma and Karamvir Singh

G# 18 Word Count 1625

Works Cited

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Chandra, Aditi. “Mughals of India” Lecture 11/16

"Emperor Jahangir (1569-1627) (gouache on paper)." Bridgeman Images: The Bridgeman Art Library, edited by Bridgeman Images, 1st edition, 2014. Credo Reference, http://search.credoreference.com/content/entry/bridgeart/emperor_jahangir_1569_1627_gouache_on_paper/0. Accessed 13 Nov 2017.

“Jahangir (1569 to 1627).” Chambers Dictionary of World History, edited by Bruce Lenman, and Hilary Marsden, Chambers Harrap, 3rd edition, 2005. Credo Reference, http://search.credoreference.com/content/entry/chambdictwh/jahangir_1569_to_1627/0. Accessed 13 Nov 2017.

Jahangir Preferring a Sufi Shaikh to Kings
Kapadia, Roshna. “Bichitr, Jahangir Preferring a Sufi Shaikh to Kings (Article).” Khan Academy, Khan Academy,

www.khanacademy.org/humanities/ap-art-history/south-east-se-asia/india-art/a/bichtir-jahangir-preferring-a-sufi-shaikh-to-kings.

Kapadia, Roshna. “Bichitr, Jahangir Preferring a Sufi Shaikh to Kings (Article).” Khan Academy, Khan Academy, www.khanacademy.org/humanities/ap-art-history/south-east-se-asia/india-art/a/bichtir-jahangir-preferring-a-sufi-shaikh-to-kings.

Streusand, Douglas. “Mughal Religious Policy — Akbar and Jahangir.” World History

Encyclopedia, Alfred J. Andrea, ABC-CLIO, 1st edition, 2011. Credo Reference, http://search.credoreference.com/content/entry/abccliow/mughal_religious_policy_akbar_and_jahangir/0. Accessed 13 Nov 2017.

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