mughalempire

  • The tragic fate of Aurangzeb’s rebellious daughter

    ByJustpaste.in

    In the residential quarters of Nawan Kot in Lahore stands a crumbling Mughal monument. To a casual bystander, it appears as little more than a neglected relic surrounded by modern brick houses and the distant roar of traffic from Multan Road. Yet, local legend fiercely protects this spot as the resting place of Princess Zeb-un-Nissa, the eldest daughter of the orthodox Mughal Emperor Aurangzeb. Historians, however, tell a very different story. Official records indicate that Zeb-un-Nissa died in Delhi at the Salimgarh Fort after two decades of imprisonment and was buried outside the Kashmiri Gate at the Tees Hazari gardens. Her original tomb was later dismantled during the British era to make way for a railway line. So how did a city hundreds of miles away come to claim this defiant, romantic princess as its own? The answer lies not in verified architectural blueprints, but in the psychological and political pulse of 17th-century Lahore. Zeb-un-Nissa was an anomaly in the puritanical Mughal court of her father. She was highly educated, exceptionally wealthy, a scholar of theology, and a devout patron of the arts. Under the secret pen name Makhfi (The Hidden One), she wrote expressive, Sufi-inspired poetry that directly challenged the orthodox ethos. Her political inclinations further alienated her from her father. Zeb-un-Nissa had strong affinities for her uncle, Prince Dara Shikoh: Aurangzeb’s primary rival for the throne. It was originally betrothed to his son, Prince Suleiman Shikoh. After Aurangzeb executed both Dara and Suleiman during the violent war of succession, Zeb-un-Nissa reportedly vowed never to marry. Later in life, her secret correspondence supporting her rebellious younger brother, Prince Muhammad Akbar, ultimately led to her downfall and life imprisonment. Lahore’s local folklore transformed her political tragedy into a narrative of star-crossed love. Popular stories in the city recount a passionate, poetic romance between Zeb-un-Nissa and Akil Khan Razi, the Governor of Lahore. According to local legend, after Emperor Aurangzeb forbade their union, the heartbroken princess renounced her royal luxury and retreated to a self-imposed prison in her private estate near Chauburji. In this garden sanctuary, she allegedly ran a massive public kitchen (langar) to feed dervishes, beggars, and travelers, using poetic riddles on slips of paper to communicate with the needy and eventually, to secretly reconnect with her disgraced lover. When Aurangzeb discovered their continued meetings, legends claim he ordered Akil Khan’s brutal execution and permanently confined his daughter within the garden walls. While these romantic tales lack strict historical evidence, they reflect a deeper cultural reality. Lahore had been the favorite city of Dara Shikoh, who poured immense imperial funds into its cultural and architectural enrichment. When Aurangzeb seized power, executed Dara, and shifted the imperial capital away from the city, Lahore was left politically marginalized and financially neglected. In an age where open political dissent against an absolute monarch was impossible, the citizens of Lahore used rumors, myths, and urban legends as their primary medium of protest. Zeb-un-Nissa: a brilliant woman who shared Dara Shikoh’s inclination toward Sufism, loved the city of Lahore. She publicly defied her father’s authority became the ultimate symbol of the city’s lost artistic spirit. By adopting her memory, attributing the Chauburji gardens to her patronage, and declaring the tomb in Nawan Kot as her final resting place, Lahore claimed the rebellious princess as its own. In doing so, the city permanently etched her spirit of resistance into its own historical identity.  

  • How Indian mughal art inspired Rembrandt’s forgotten miniatures

    ByJustpaste.in

    Art lovers typically look upon dramatic chiaroscuro oil paintings, European portraiture, or biblical scenes while thinking about Rembrandt. Yet, buried within historical records and private collections lies a lesser-known chapter of the legendary master’s life. A profound fascination with South Asian art that inspired a unique series of fine Indian-style portraits. Rembrandt produced 25 delicate drawings depicting Mughal emperors and religious scholars Between 1656 and 1661. These works reveal an artist expanding his creativity through an encounter with Islamic and Indian aesthetic traditions half a world away. During the 17th century, Amsterdam was a booming node in global trade. The locality was largely powered by the Dutch East India Company (VOC). Ships arriving at Dutch ports carried exotic commodities such as raw silk, muslin, spices, and fine craftsmanship straight from Surat in western India. There were original miniature paintings and sketches produced by imperial Mughal ateliers among these goods. Rembrandt was an avid collector who frequently spent beyond his means on art and curiosities from abroad. He acquired dozens of foreign items. An official inventory compiled by municipal authorities during his 18th-century bankruptcy proceedings recorded a slim book labeled item No. 203. The scholars believe that the book contained Mughal miniatures that captured his imagination. Rembrandt’s Mughal series represented a striking departure from his thick, layered oil technique. Instead of broad canvas strokes, he utilized fine brown ink, delicate wash, and subtle chalk accents to carefully document the distinctive attire and posture of Mughal royalty. He repeatedly portrayed Emperor Shah Jahan, builder of the Taj Mahal. That too alongside his sons and predecessor Emperor Jahangir. Every sketch rendered precise details of traditional jamas (stitched coats), elaborate patkas (sashes), turbans, and sarpech ornamentations with remarkable fidelity. Rembrandt drew exclusively on imported Torinoko paper. This paper was seemingly a smooth Japanese paper sourced through East Asian maritime networks. “Copying was his way of learning about another style of making portraits… show[ing] him working in a much more refined manner than he is known for.”   Stephanie Schrader, Curator of Drawings at the J. Paul Getty Museum. Rembrandt didn’t copy images mechanically. He adapted Mughal compositions into his own artistic vision. For instance, in his study titled Four Mullahs Seated Under a Tree, he altered the background and surroundings from the original Indian painting. This exercise directly influenced his later print Abraham Entertaining the Angels (1656). In the latter, he repurposed the relaxed seating arrangements of Mughal scholars to illustrate an important biblical motif. The subtle colors and calm poses he absorbed during this phase continued to echo in his late-career oil paintings. Rembrandt never set foot outside Europe. However, his engagement with Mughal miniatures demonstrates a spirit of cross-cultural curiosity during the Dutch Golden Age. He studied them diligently as an intellectual equal. He discovered new ways to capture human expression and line.