Jehangir implores Badshah Akbar

In the painting, commissioned by Shah Jahan and painted by a Mughal great Balchand, Akbar is seen bathed in heavenly light as he stands before his son Jahangir who gestures imploringly with both hands stretched. It seems the son is trying to drive in a point or reason with his father over a point of conflict. Akbar, with a falcon sitting on his gloved hand, responds by leaning toward his successor. The plea and the response is open to interpretation. As was so often the case in the Mughal imperial house, father and son were rarely in harmony. It was during Badshah Akbar’s long reign from 1556 to 1605 that the Mughal empire took the shape that it would retain until the end of 17th century. However, Jalaluddin Akbar at the time had little hopes from Jehangir and had blessed his grandson and Jehangir’s son Khusrau Mirza as his successor. Jehangir (then Salim) was the son who waged a rebellion and towards the end of Akbar’s reign declared himself emperor and set up court at Allahabad. Over the years he was also caught in the depths of chronic alcoholism. He was certainly not a favourite of Akbar’s. Had his siblings Daniyal Mirza and Prince Murad not died prematurely, Jehangir would have stood little chance to succeed. But Salim did become Jehangir, the Emperor of Hindustan. In this painting Jehangir shares stature and portraiture with Jalaluddin Akbar who was the eternal emperor, the harbinger of light upon Hindustan and his Timurid line. There was paint and conflict in this relationship. A great yearning from a son to get his father’s respect who at every possible instance ensured his grandson’s enjoyed higher military and imperial status than Jehangir. Desipite this conflict, there was love from the son to the father. A great sense of respect. Jahangir in his memoirs (Tuzuk-i-Jehangiri) writes of his father with the warmest filial affection. He wrote that his father very often conversed with learned men of every sect and religion, especially with the pundits and wise men of India. Even though he was illiterate, because he had associated so much with learned men in discourses, it was impossible to discover from his manner that he was illiterate, and he understood the minutiae of poetry and prose better than can possibly be imagined.
He wrote that in stature, Akbar was of medium tall build, was wheaten of complexion, and had black eyes and eyebrows. In his countenance refinement preponderated over beauty; and he had the body of a lion, broad in the chest and long of arm. On his left nostril he had an extremely attractive fleshy mole the size of half a pea, and those with expertise in physiognomy held that this mole indicated great prosperity and good fortune. His august voice was loud, and he had an especially nice way of speaking. In his manner and bearing he was not like the people of this world, for in him a divine aura was evident.
Of Akbar's tolerance of religion, a practice followed in large measure by Jahangir, he writes: "There was room in the expanse of my exalted father's peerless realm for practitioners of various sects and religions, unlike other nations in the world, for in Iran there is room for only Shiites and in Turkey, Transoxiana, and Hindustan (before it became Akbar’s realm) for only Sunnis. Universal harmony was his rule, and he conversed with the good and pious of every sect, creed, and religion and attended all according to their condition and understanding.''
The Artist of the present work is Balchand, brother of Payag, one of the many Hindu masters in the Mughal ateliers. Balchand, specialized in imperial subjects, but even though he was allowed within the royal enclosure, even into scenes of imperial intimacy, he sketched from a suitable distance. Akbar's concerned sweetness of expression typifies the gentleness of Balchand's rewardingly restrained but penetrating characterizations. A painter which a penchant for ornamental styles employing flowers, foilage, fruits and even animals outlines to produce intricate patterns, Balchand painted these designs on carpets, jewelry, daggers, sashes, gloves, and minute ties of coats. This would further ornate the mood of his solemn yet stately paintings. This can be noticed well in Padshahnama where he painted three miniatures. In the borders of the folio, are seen tulips and plantd similar to the narcissus and freesia. We also see an iris, a poppy and a lily.

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