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Emperor Akbar and Gosain Jadrup, Folio from the St. Petersburg Muraqqa’

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Set within splendidly detailed borders, this painting depicts the aged Emperor Akbar (r. 1556–1605) conversing with the famous Hindu ascetic Gosain Jadrup. They are seated outside Jadrup’s humble hermitage, located on a hillside outside the city of Ujjain in Madhya Pradesh. Although Akbar’s rule was considered to be divinely sanctioned—as signified by the halo—he is concerned with the enlightenment of his soul and is seeking spiritual wisdom from the Hindu holy man. To demonstrate respect, the emperor has removed his gold embroidered shoes, which are held by an attendant on the left. He describes Jadrup in his memoirs, the Akbarnama, as "one who understands the mysteries of the heart." The meeting with Jadrup had a profound impact not only on the emperor, but also on his son and successor, Jahangir (r. 1605–27). Jahangir commissioned this painting, and documented his own spiritual encounters with the saint, both visually and verbally, in his memoirs, the Jahangirnama.
Department of Islamic & Later Indian Art Harvard Art Museums/Arthur M. Sackler Museum Gift of Grenville L. Winthrop Class of 1886
Title: Emperor Akbar and Gosain Jadrup, Folio from the St. Petersburg Muraqqa’
Description:
Set within splendidly detailed borders, this painting depicts the aged Emperor Akbar (r.
1556–1605) conversing with the famous Hindu ascetic Gosain Jadrup.
They are seated outside Jadrup’s humble hermitage, located on a hillside outside the city of Ujjain in Madhya Pradesh.
Although Akbar’s rule was considered to be divinely sanctioned—as signified by the halo—he is concerned with the enlightenment of his soul and is seeking spiritual wisdom from the Hindu holy man.
To demonstrate respect, the emperor has removed his gold embroidered shoes, which are held by an attendant on the left.
He describes Jadrup in his memoirs, the Akbarnama, as "one who understands the mysteries of the heart.
" The meeting with Jadrup had a profound impact not only on the emperor, but also on his son and successor, Jahangir (r.
1605–27).
Jahangir commissioned this painting, and documented his own spiritual encounters with the saint, both visually and verbally, in his memoirs, the Jahangirnama.

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