The Mughal Emperor As Solomon, Majnun, and Orpheus 277
the mughal emperor as solomon, majnun, and orpheus 277 EBBA KOCH THE MUGHAL EMPEROR AS SOLOMON, MAJNUN, AND ORPHEUS, OR THE ALBUM AS A THINK TANK FOR ALLEGORY By the early seventeenth century, symbolic repre- While the concept of Mughal symbolic representa- sentation and allegory had emerged as a new genre in tion and, to a certain extent, its composition and style imperial Mughal painting. The themes were guided are indebted to European works, its iconography and by imperial interest and the main agenda was to give iconology were fed by sources of an astonishing hetero- abstract concepts or performed gestures of ideal king- geneity. The Mughal emperors and their theorists ship a pictorial expression. Mughal symbolic represen- (mardum-i ā ib-i vuqūf, men of superior knowledge, tation was inspired by Europe, as we learn from Abu ’l as Jahangir [r. 1605–27] calls them in one of the rare Fazl (d. 1602), the chief historian of Emperor Akbar instances where their input is acknowledged2) had not (r. 1556–1605) and, as Richard Eaton has famously the slightest problem with selectively taking from Cen- termed him, his chief ideologue. In his Āʾīn-i Akbarī tral Asian, Indian, Persian, ancient Near Eastern, and (Institutes of Akbar), written in the 1590s, Abu ’l Fazl European ideas whatever served their purpose. On the presents us with an intriguing argument, in which he contrary, the Mughals drew inspiration from the diver- weighs the value of writing against that of painting. sity of their sources in order to develop a symbolic and He begins in almost postmodern philosophical terms, allegorical “multilingualism” as a means to address the anticipating Saussure’s notions of “sign,” “signifier,” widest possible audience in a cosmopolitan discourse and “signified,” and continues on a neo-Platonic, post- in its own terms and, as a consequence, to legitimate Tri dentine note when he states that painting may themselves in the widest possible context as ideal and become a means to recognize a higher truth, especially universal kings.
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