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While nominally presiding over an empire, the Mughal emperors in the late 18th century were at best supported by the Kingdom of Delhi, a swath of land around the city from which they might receive revenues and military support from chiefs. More often, they were mere dependents upon the most recent occupant of their strategic territory. The illusion of empire was still of use, however, to contesting powers. The pretense of imperial station was maintained, while the emperor was reduced to a pensioner. Paintings continue to reflect the courtly decorum of the great Mughals, and to hide the truth. In the picture, a Mughal prince receives the Nawab of Avadh. The prince is seated at the center of the picture under the arches of a palatial building. While all others stand, the Nawab is allowed to sit, elevating his status significantly. In reality, their status is reversed. Only protection from the Nawab's father had permitted the prince's father to live to claim the throne and rule as Shah Alam (ruled 1760-1788, and after an interregnum again from 1788-1806). (The prince later ruled as Akbar II from 1806-1837.)
This painting is an imaginary gathering of powerful nawabs of Avadh and Bengal. The greatest status is given to Mir Wajid Ali, Nawab of Avadh between 1847 and 1856, who sits at the center smoking a hookah shown in the immediate foreground at the edge of the carpet on which the gentlemen sit. The scene reflects the degree of westernization taking place in India during this time. The architecture is depicted with devices from western perspective; lamps with glass shades are mounted above portraits that are framed in the western manner. The portrait of the Mughal monarch under the arch, perhaps tellingly, is partially eclipsed in shadow. << Back Explore the Paintings Next >>
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