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The Position and Role of the Halo Motif in the Indian Mughal Style of Painting (1526-1707) | ||
| Iranian Journal of Archaeological Studies | ||
| مقاله 6، دوره 15، شماره 2، 2025، صفحه 77-98 اصل مقاله (1.01 M) | ||
| نوع مقاله: Research Article | ||
| شناسه دیجیتال (DOI): 10.22111/ijas.2025.51973.1350 | ||
| نویسندگان | ||
| Fahimeh Saravani؛ Abolghasem Dadvar* | ||
| Department of Artistic Research, Alzahra University,Tehran, Iran. | ||
| چکیده | ||
| This study examines the evolution of the halo motif in Mughal court painting from the reign of Babur (1526) to that of Aurangzeb (1707), focusing on its transformation in form, symbolism, and artistic techniques, including colour schemes and compositional design. Guided by two central research questions, it explores: How did the visual characteristics of halos change throughout the Mughal period? And how were these changes employed to express political authority and ideological legitimacy? Drawing on comparative analysis, historical documentation, and close visual readings of Mughal court paintings, this research traces the shift of halos from simple, religiously rooted motifs to complex symbols of divine kingship. During the reigns of Akbar and Jahangir, halos became ornate and colourful, reflecting syncretic spiritual ideals and imperial ideology. By Shah Jahan’s era, their design reached peak sophistication, often mirroring the architectural elements of the Mughal court. In contrast, Aurangzeb’s later reign saw a restrained use of halos, aligning with his orthodox policies. The study reveals that halos functioned not merely as decorative or sacred elements but as intentional tools for constructing and communicating power. This research contributes to our understanding of how Mughal artists used visual symbolism to reinforce dynastic identity and royal ideology across a century marked by shifting cultural and political landscapes. | ||
| کلیدواژهها | ||
| Halo of Light؛ Halo of Fire؛ Style of the Indian Mongols؛ Miniature؛ Islamic Era | ||
| مراجع | ||
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