Mughal Court Collection

Timur distributes gifts from his grandson, the Prince of Multan, from a Zafar-nama (Book of Victories), 1598-1600. The Zafar-nama, a biography of Timur praising his accomplishments

Tales of a Parrot (Tuti-nama): The Twelfth Night: King Bhojaraja tries in vain to ascertain the whereabouts of the pearl from the four traveling companions, c. 1560

Shamsa (sunburst) with portrait of Aurangzeb (1618-1707), from the Emperors Album…
Shamsa (sunburst) with portrait of Aurangzeb (1618-1707), from the Emperors Album (the Kevorkian Album), illumination 1640-55; original portrait c. 1640-50; altered after 1658

Portrait of the Aged Akbar, c. 1640-1650. Creator: Govardhan (Indian, active c. 1596-1645)
Portrait of the Aged Akbar, c. 1640-1650. The soulful modeling of Akbars aged but dignified face argues strongly in favor of the attribution of this work to the imperial court artist Govardhan

Portrait of Suraj Singh Rathor, Raja of Marwar and Maternal Uncle of Shah Jahan: A Page from the Prince Khurram Album, c. 1600

Creator: Mir Ali
Page from the Late Shah Jahan Album: Persian Calligraphy Framed by an Ornamental Border of Flowers and Birds, c. 1500 to 1540

A prince visiting a holy man in a rocky landscape, c. 1590. Creator: Unknown
A prince visiting a holy man in a rocky landscape, c. 1590. A recurring theme in the art of India is the relationship between rulers

The Holy Family, c. 1620s. Creator: Unknown
The Holy Family, c. 1620s. This painting of Joseph, the Virgin Mary, and the infant Jesus is based on European sources, but it also contains several details that are specifically Indian

Lovers parting, page from a book of fables, c. 1590-95. Creator: Unknown
Lovers parting, page from a book of fables, c. 1590-95. The lovers have met in a remote wilderness location, away from the city shown in the distance

Page from Tales of a Parrot (Tuti-nama): Twelfth night: The merchants daughter meets the gardener, c. 1560. Among the illustrations in the Tales of a Parrot

Nur Jahan, holding a portrait of Emperor Jahangir, c. 1627. Creator: Bishandas (Indian)
Nur Jahan, holding a portrait of Emperor Jahangir, c. 1627. The empress Nur Jahan, Jahangirs favorite wife, exercised influence in affairs of state

Page from the Late Shah Jahan Album: Portrait of Asaf Khan, c. 1653. Creator: Unknown
Page from the Late Shah Jahan Album: Portrait of Asaf Khan, c. 1653. The Late Shah Jahan Album contained sensitively rendered portraits of the emperors high-ranking officers, ministers

Page from the Late Shah Jahan Album: Prince and Ascetics, c. 1630. Creator: Govardhan (Indian)
Page from the Late Shah Jahan Album: Prince and Ascetics, c. 1630. Most paintings in the Late Shah Jahan Album were commissioned specifically for the album

Page from the Late Shah Jahan Album: Harem Night-Bathing Scene, c. 1653. Creator: Unknown
Page from the Late Shah Jahan Album: Harem Night-Bathing Scene, c. 1653. At least two scenes of women bathing under the moonlight were included in the Late Shah Jahan Album

Page from the Late Shah Jahan Album: Calligraphy Framed by an Ornamental Border with Poppies and Pairs of Birds, c. 1653. Treated as a jewel set in gold and floral arabesques

Babur receives booty and Humayuns salute after the victory over Sultan Ibrahim in 1526, from an Akbar-nama (Book of Akbar) of Abu l Fazl (Indian, 1551-1602), c. 1596-1597 or 1604

Akbar supervising the capture of wild elephants at Malwa in 1564, painting 90…, c
Akbar supervising the capture of wild elephants at Malwa in 1564, painting 90 from an Akbar-nama (Book of Akbar) of Abu l Fazl (Indian 1551-1602), c. 1602-3; borders added c. 1700s

From the Farhang-i Jahangiri (Persian-language Dictionary)... 1607-1608. Creator: Unknown
From the Farhang-i Jahangiri (Persian-language Dictionary) compiled by Mir Jamal al-Din Husayn Inju of Shiraz (Persian, d. 1626), 1607-1608

Calligraphy: Preface to the Anvar-i Suhaili, c. 1590. Creator: Unknown
Calligraphy: Preface to the Anvar-i Suhaili, c. 1590. The lovers have met in a remote wilderness location, away from the city shown in the distance

Nur Jahan holding portrait Emperor Jahangir 1627
Nur Jahan, holding a portrait of Emperor Jahangir, c. 1627. Northern India, Mughal court, 17th century. Opaque watercolor and gold on paper; page: 30 x 22.1 cm (11 13/16 x 8 11/16 in.)

Farhang- Jahangiri Persian-language Dictionary
From the Farhang-i Jahangiri (Persian-language Dictionary) compiled by Mir Jamal al-Din Husayn Inju of Shiraz (Persian, d. 1626), 1607-1608. India, Mughal court, made for Jahangir

Holy Family 1620s Northern India Mughal court
The Holy Family, c. 1620s. Northern India, Mughal court, early 17th century. Opaque watercolor and gold on paper;

Lovers parting page book fables 1590-95 Northern India
Lovers parting, page from a book of fables, c. 1590-95. Northern India, Mughal court, 16th century. Opaque watercolor with gold on paper

Babur receives booty Humayun salute victory
Babur receives booty and Humayuns salute after the victory over Sultan Ibrahim in 1526, from an Akbar-nama (Book of Akbar) of Abu l Fazl (Indian, 1551-1602), c. 1596-1597 or 1604

Lovers Parting Page Book Fables 1590–95
Lovers Parting, Page from a Book of Fables, c. 1590-95. Northern India, Mughal court, 16th century. Opaque watercolor with gold on paper

Calligraphy Preface Anvar- Suhaili 1590 Northern India
Calligraphy: Preface to the Anvar-i Suhaili, c. 1590. Northern India, Mughal court, 16th century. Ink on cream gold-decorated paper with gold-sprinkled blue paper borders

A prince visiting holy man rocky landscape 1590
A prince visiting a holy man in a rocky landscape, c. 1590. India, Mughal court, 16th century. Opaque watercolor on paper; page: 34 x 20.7 cm (13 3/8 x 8 1/8 in.); painting

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The Mughal Court: A Glimpse into Royal Splendor Step into the opulent world of the Mughal court, where grandeur and refinement intertwine to create a mesmerizing tapestry of art, culture, and power. The court was a hub of activity, bustling with intrigue, politics, and artistic endeavors that shaped the course of history. In one corner of this magnificent realm, Timur distributes gifts from his grandson, the Prince of Multan. The air is filled with anticipation as precious treasures are bestowed upon loyal subjects in a display of generosity fit for royalty. Meanwhile, in another tale from the Tuti-nama (Tales of a Parrot), King Bhojaraja struggles to unravel an enigma on the twelfth night—an intriguing glimpse into the intellectual pursuits that captivated minds within these hallowed walls. As you wander through this captivating space adorned with masterpieces from renowned artists like Govardhan and Mir Ali, your eyes fall upon a Shamsa (sunburst) featuring Aurangzeb's portrait—a testament to his reign during tumultuous times. Nearby stands an aged Akbar captured in timeless beauty by Govardhan himself—a poignant reminder of past glory. The portraits continue to enthrall as you encounter Suraj Singh Rathor—Raja of Marwar and maternal uncle to Shah Jahan—his regal countenance immortalized by Mir Ali's skilled hand. And just beyond lies an enchanting scene depicting a prince seeking wisdom from a holy man amidst rocky landscapes—an allegory for spiritual enlightenment transcending earthly boundaries. But it is not only nobility that graces these halls; love finds its place too. Lovers parting tugs at heartstrings as emotions spill onto pages from an ancient book of fables—a tender moment frozen in time by unknown hands. And nearby rests Nur Jahan herself holding Emperor Jahangir's portrait—an emblem of her influential role as a queen and power behind the throne.