Artwork
Akbar and Jahangir Examine a Ghir Falcon while Prince Khusrau Stands Behind
Akbar and Jahangir Examine a Ghir Falcon while Prince Khusrau Stands Behind is an unspecified painting. It dates from 1603 and is held in the collection of the Cleveland Museum of Art. The work portrays a courtly gathering in which three figures attend to a large bird of prey, likely a falcon.
About this work
Subject & Meaning
Created around 1603 in the Mughal Empire, the scene captures a moment of imperial falconry, a pastime associated with the Mughal elite.
The painting shows the Mughal emperor Akbar and his son Jahangir leaning over a gyrfalcon, while Prince Khusrau stands behind them. Created around 1603 in the Mughal Empire, the scene captures a moment of imperial falconry, a pastime associated with the Mughal elite. By placing father and son together with the bird of prey, the composition underscores the continuity of dynastic rule and the shared noble pursuits of the court. Khusrau’s position behind the two figures hints at his subordinate yet princely status within the family hierarchy.
History & Provenance
The painting was created in 1603 within the Mughal Empire, as recorded in its cataloguing data. It is classified as a painting and is held in the collection of the Cleveland Museum of Art, where it is located. No information is available regarding its original commission, earlier ownership, or chain of custody prior to its accession by the museum.
The painting Akbar and Jahangir Examine a Ghir Falcon while Prince Khusrau Stands Behind is part of the Cleveland Museum of Art collection. It is cataloged under the accession number 2013.317. The work was exhibited in the Cleveland Museum of Art exhibition titled "India: Art and Culture of the Mughal Courts" in 2013.
Overview
The work portrays a courtly gathering in which three figures attend to a large bird of prey, likely a falcon. The central figure sits on a raised platform, cradling the bird, while a second figure reaches toward it and a third observes from behind. A deer lies on the floor before the platform, and the setting is framed by blue walls and an elaborately patterned ceiling.
Technique & Style
Executed in vivid pigments, the painting displays meticulous attention to textile patterns, headgear, and architectural details. The use of bright reds, oranges, and whites against a cool blue background creates a striking visual contrast, while the fine rendering of feathers and fur adds realism to the scene.
Context
Falconry held symbolic significance in the Mughal empire, representing the ruler’s dominion over nature and his martial virtues. Paintings of this type served both as documentation of royal pastimes and as visual affirmations of imperial authority.
Artist & collection
Azam Shah
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Page from Tales of a Parrot (Tuti-nama): text page
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