Reflection of the Elements of Authority and Spirituality in the Mughal Empire Portraiture

Abstract
Transmission of idea and inner reality is an important feature of images. This fact has always been accompanied with the display of mental and ideological tensions in historical images. Representing historical characters is one of the most significant features of the Indian Mughal miniature, which has been the manifestation of Mughal emperors’ tastes and interests. There are some crucial points in such portraits which are remained unknown due to reliance on the mere superficial structures and implications. Actually, two important features, i.e. authority and spirituality, are of immense significance in these portraits. Adopting a descriptive-analytical methodology, the present article is to answer the following question: What are the main visual elements relating to authority and spirituality in the Mughal portraits in India? Studying 30 portraits as case studies in this research, the results show that the manifestation of authority and spirituality in the trinity of emperor, sheikh and yogi were considered more than others, and this has been represented in the portraits of the king more conspicuously.

Introduction

Events, personages and their representation are among the most significant themes in the Mughal art of India. The Mughal kings’ performance in different fields of politics, war and everyday life as in feats, receptions, poets’ circles and so forth constitute the majority of such representations. Based on real events, pictures of the mentioned themes and subject matters establish close relationship with the ideals of the Indian Mughal rulers (Welch et al, 1987: 17). Having been established by setting up Mughal royal workshops at the court of the Mughal Emperor, Akbar (1542-1605), such an artistic style embarked upon the production of a great deal of portraits, besides depicting real events. Such works are regarded as a major part of the Mughal art and culture. An evaluation of the Mughal portraits indicates that the representation of personages have mostly been accompanied with the depiction of tensions as well as ideological conflicts. Authority and spirituality, as two crucial factors, could be identified in this respect. The representation of personages and figures in connection with the two factors of authority and spirituality arise the following questions:
1- What are the main visual elements of authority and spirituality in the Mughal portraiture of the kings?
2- Which elements relating to authority and spirituality have been reflected in the portraits most?
The present article aims to provide a proper understanding of common features in the visual arts of Mughal India as a part of the Islamic civilization.
1.1. Research methodology
The present research is done in descriptive-analytical methodology and its data was gathered through library sources, documents and internet sites. To collect the required samples, online collections of different libraries and museums were observed. Published works were also examined to complete the date and samples of paintings. Among 137 paintings acquired from different sources, 38 were selected in accordance with the content of the research. Once again, a few cases were omitted due to lack of quality or as a result of being repetitive; hence a total of 30 cases remained. To achieve better results, the images were categorized into three subjects: royal portraits, sheikhs or mystics, and yogis. Incidentally, the recognition of the way in which portraits were painted in the studied cases has been obtained through historical sources, while the analysis of images was carried out based on the structural features and visual characteristics of figures.

Discussion

Performing cultural activities to exercise the power and authority of the Mughal Empire on the one hand and attempting at representing such a matter to the public on the other, were among the actions taken by Mughal emperors of India. A great deal of this was concentrated on the production of manuscripts and the arts of book. Setting up royal workshops and libraries for making artistic manuscripts by Akbar, the production of illustrated works increased. Incidentally, royal albums remained from this period are among other illustrated works to be mentioned. The albums were considered as a part of royal workshops’ productions for especial occasions, usually with the pictures of figures or formal ceremonies (Soudavar, 1380/2001, 303). Due to the application of realistic techniques, such works were regarded as examples of real portraiture. Regarding the prohibition of portraiture in Islam, these works would be considered a break from former artistic traditions clearly abstained from portraiture (Soucek, 2000, 98). Emphasizing some certain features is the characteristic of such portraits namely the elements like authority and spirituality which deserve attention. This emphasis, based on importance and frequency, can receive attention in three areas such as 1- royal portraiture, 2- those relating to the sheikhs and mystics, and 3- yogis.
In this connection, the related images in each section have been studied in terms of portraiture features and visual elements. The extant similarities and differences in the way each group represented as well as their positions were the issues taken into consideration as well. Such factors would determine how and to what extent the elements of authority and spirituality have been invigorated or enfeebled.

Conclusion

Examination of authority, spirituality, and related factors in the Mughal portraiture indicates that the main visual elements in these realms have mostly been manifested in three fields: emperors, sheikhs and yogis, among which the emperors’ portraits exceed in quantity. The features incorporated in such works are as follows:
1- In representing the three mentioned groups, putting emphasis on some certain visual characteristics as well as applying realistic features have been of great significance. Such an emphasis in the portraits of emperors was mainly laid on two factors, i.e. authority and spirituality. In the portraits of sheikhs and mystics, such representation has nothing to do with the element of authority, but mostly with spiritual aspects. Finally, in doing so for the yogis the two mentioned factors have been totally undermined, while the way they were represented has led to an exaggerated depiction of organs and a fade palette, ignoring the spiritual elements in their personages. 2- Using symbols related to the issue of authority is another case in point. Domination over the Earth and the use of kingly regalia such as the crown, cup, throne, shield and sword should be considered in connection with emphasizing the element of power and authority in royal portraiture. 3- Using symbols related to spirituality including aura is another important item which was utilized to consecrate the emperors and mystics, however not for the yogis. As symbols of divinity, angels were other visual elements principally applied in the portraiture of the kings and rulers. Items of worship and invocation like rosary have been dedicated to the mystics and yogis. It appears that all these factors have contributed to a powerful, celestial and unique image of the king. A close examination of the three subjects, i.e. emperors, mystics and yogis, demonstrates that their representations were in connection with the cultural views of the Mughal kings as well. Such a cultural view in the realm of religion leading to taking practical measures such as building places of worship was indicative of the Mughal emperors’ ideological contrasts to sheikhs and mystics in the field of image-making. This matter has been reflected in the paintings in the form of symbols of sanctification. Nonetheless, the portraiture of yogis demonstrates a sort of tension which must have been the result of cultural and ideological differences among the creators of such artworks.

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