Search engine for discovering works of Art, research articles, and books related to Art and Culture
ShareThis
Javascript must be enabled to continue!

The Genealogical Seal of the Mughal Emperors of India

View through CrossRef
The genealogical seal of the Mughal emperors of India was one of the most potent symbols of Mughal imperial authority. The distinctive design of the seal - a central circle containing the name of the ruling emperor, surrounded by a series of smaller circles, like satellites in orbit, containing the names of his ancestors up to Timūr (1336–1405) each preceded by the filiative ibn - was a self-evident masterpiece of imperial symbolism, in which the authority of the ruling emperor was both legitimised and enhanced by the deliberate reference to his illustrious ancestors. The inscription was designed to be read starting with the ruling emperor's name in the middle, then moving into the outer circle to the name of his immediate predecessor (at 1 o'clock) and, continuing clockwise, finishing up at Timur, who always had pride of place at the top of the seal. In this way, each ruler was expressed as the son of his predecessor, while at the same time, from his central position abutting all the smaller circles, the ruling emperor could be read symbolically as the “son” of each of his ancestors.
Title: The Genealogical Seal of the Mughal Emperors of India
Description:
The genealogical seal of the Mughal emperors of India was one of the most potent symbols of Mughal imperial authority.
The distinctive design of the seal - a central circle containing the name of the ruling emperor, surrounded by a series of smaller circles, like satellites in orbit, containing the names of his ancestors up to Timūr (1336–1405) each preceded by the filiative ibn - was a self-evident masterpiece of imperial symbolism, in which the authority of the ruling emperor was both legitimised and enhanced by the deliberate reference to his illustrious ancestors.
The inscription was designed to be read starting with the ruling emperor's name in the middle, then moving into the outer circle to the name of his immediate predecessor (at 1 o'clock) and, continuing clockwise, finishing up at Timur, who always had pride of place at the top of the seal.
In this way, each ruler was expressed as the son of his predecessor, while at the same time, from his central position abutting all the smaller circles, the ruling emperor could be read symbolically as the “son” of each of his ancestors.

Related Results

Seal-die of Prince Lazar from Rudnik
Seal-die of Prince Lazar from Rudnik
The medieval settlement on the Rudnik Mountain was established, most probably, in the final decades of the 13th century. Soon it evolved into one of the best known mining and...
The Way of the Firang: Illustrating European Social Life and Customs in Mughal Miniatures (1580 CE -1628 CE)
The Way of the Firang: Illustrating European Social Life and Customs in Mughal Miniatures (1580 CE -1628 CE)
During the sixteenth century, along with the rise of the Mughal Empire, the social landscape of India changed drastically with the advent of the European colonial powers. In 1580 C...
“Unhitching the Oxcart of Delhi”: a Mughal-Period Hindi account of Political Insurgency
“Unhitching the Oxcart of Delhi”: a Mughal-Period Hindi account of Political Insurgency
AbstractThis article is part of a larger effort to broaden the source-base for understanding Mughal-period India by engaging with the Hindi literary archive. I analyze the vignette...
The Use of Sources in Mughal Historiography
The Use of Sources in Mughal Historiography
India during the period of the Mughal dynasty (sixteenth-eighteenth centuries) is exceptionally well illuminated by a large body of historical literature, mainly in Persian. This l...
Giovanni d’Aragona (1456‒1485) szerepe Mátyás király mecénásságában
Giovanni d’Aragona (1456‒1485) szerepe Mátyás király mecénásságában
King Matthias Corvinus of Hungary (1458‒1490), son of the “Scourge of the Turks,” John Hunyadi, was a foremost patron of early Renaissance art. He was only fourteen years old in 14...
Forbidden Love, Persianate Style: Re-reading Tales of Iranian Poets and Mughal Patrons
Forbidden Love, Persianate Style: Re-reading Tales of Iranian Poets and Mughal Patrons
The patronage system at the Mughal court drew many Safavid poets and men of learning to India who interacted with Indians at various levels. In an unusual case, the young Iranian p...
Renaissance Painting and Expressions of Male Intimacy in a Seventeenth-Century Illustration from Mughal India
Renaissance Painting and Expressions of Male Intimacy in a Seventeenth-Century Illustration from Mughal India
This article explores the artistic relationship between Western European Renaissance art and Mughal painting ca. 1630s at the ateliers in North India. A central theme is the employ...
Roman Imperial Portraits Dataset (ripd)
Roman Imperial Portraits Dataset (ripd)
Abstract Portraits of the Roman emperors have been a focal point in the study of the ancient world. However, questions on how this medium developed over time and/or how perceptions...

Back to Top