Mughal paintings are known for their subjects and the sources of their style. Consider the following statements:
(A) Dara Shikoh with Sages in a Garden centres on Dara, a scholar who knew Sanskrit.
(B) In Princes of the House of Timur, the format, theme, figures and colour palette are remarkably Indian.
(C) In Jahangir’s Dream, the Persian Shah appears frail and vulnerable as he is embraced by Jahangir.
(D) In Jahangir’s Dream, the Persian Shah stands on a powerful lion.
Choose the correct answer from the options given below:
Answer & explanation
Correct answer: option 2
The correct answer is Option (2) → (A) and (C) only
(A) Dara Shikoh with Sages in a Garden centres on Dara, a scholar who knew Sanskrit. — Correct. Dara, the scholar who knew many languages, including Sanskrit, is the central theme of this painting.
(B) In Princes of the House of Timur, the format, theme, figures and colour palette are remarkably Indian. — Incorrect. This early painting is remarkably Persian in format, theme, figures and palette. No dominant element has Indian inspiration yet.
(C) In Jahangir’s Dream, the Persian Shah appears frail and vulnerable as he is embraced by Jahangir. — Correct. Abul Hasan shows the Persian Shah frail and vulnerable in Jahangir’s embrace.
(D) In Jahangir’s Dream, the Persian Shah stands on a powerful lion. — Incorrect. The Shah stands on a docile sheep. The powerful lion is the one on which Jahangir towers.
NCERT (2026-27): “The legitimate successor of Shah Jahan, his son Dara Shikoh, was denied his empire and life. As a liberal unorthodox Mughal, Dara’s commitment to Sufi mysticism and deep interest in Vedantic school of thought was outstanding. … Loved by his people, Dara, the scholar, who knew many languages, including Sanskrit, is the central theme here.…” “When we look at an extraordinary Mughal painting from the early period, Princes of the House of Timur (1545–50), probably by Safavid artist, Abd us Samad, in opaque watercolour on cotton, we are surprised by its size and complex structure and display of historical portraits. … The format, theme, figures and colour palette are remarkably Persian.…” “Jahangir’s Dream (1618–22) by Abul Hasan, given the title Nadir al Zaman, meaning the ‘Wonder of the Age’, refers to the Emperor’s dream, in which he was visited by Persian Safavid emperor Shah Abbas, his rival, who possessed the much desired province of Qandahar. … The Persian Shah appears frail and vulnerable as he is embraced by Jahangir. … The powerful lion, on which Jahangir towers, and the docile sheep, on which the Persian Shah stands, sharing a magnificent resplendent golden halo of the Sun and Moon held by two winged angels indicate of being inspired by the incoming European art motifs and imageries in the Mughal court.” |