Under Jahangir, a dynastic series of mur akka portraits was developed, revealing the idea of the suc cession of supreme power. These were paired portraits of the father – the reigning emperor and his son-heir.
Baburid India, 17th century.
Museum of Art, Boston (MFA).
This paired portrait of mirzo Baysunkur and Shahrukh, made by an unknown artist from the Jahangir period, is one of such dynastic por traits, but it is also possible tha t it was a preparatory drawing for a group portrait of representatives of the Temurid dynasty.
Baysunkur here looks somewhat older than in the pr evious portrait. He is sitting in a k neeling position next to his father, with an identifying inscription above his head, as was customary in Baburid portraiture. He already has a small beard, Turkic facial features, and is dressed in a typical Temurid kabah – a figure-hugging robe dress with a precious belt. On his head, instead of the Temurid taj, he wears a taj-i-izzat headdress, invented by Humayun for a narrow circle of the emperor’s entourage, as opposed to the Safavid taj-i-haidari, which was worn by the courtiers of the Persian shah. It was a high felt cap, characteristic of the nomads of Central Asia, with a scarf tied around it rolled up in many layers and decorated with a feather or an agrafe. The mandatory taj-i-izzat was abolished by Emperor Akbar on the day of his coming of age and has not been f ound in miniatures after that.
Although this portrait belongs to the category of imaginary portraits, the features of Baysunkur and Shahrukh are similar and suggest their r elation.