. This painting, from an album complied for Shuja al-Dawla, a nawab of Oudh, was produced at the end of the period of Mughal greatness: Mughal power and wealth and hence artistic patronage and production peaked during the reigns of Akbar (), Jahangir (), Shah Jahan (), and Awrangzib (). Then, in 1739, the Iranian ruler Nadir Shah sacked Delhi, carrying back to Iran the riches of the Mughals – their library, treasury and even the fabled Peacock Throne. More than anything, this was a devastating psychological blow from which the Mughals never recovered. So
. This painting, from an album complied for Shuja al-Dawla, a nawab of Oudh, was produced at the end of the period of Mughal greatness: Mughal power and wealth and hence artistic patronage and production peaked during the reigns of Akbar (), Jahangir (), Shah Jahan (), and Awrangzib (). Then, in 1739, the Iranian ruler Nadir Shah sacked Delhi, carrying back to Iran the riches of the Mughals – their library, treasury and even the fabled Peacock Throne. More than anything, this was a devastating psychological blow from which the Mughals never recovered. Source: p632, Chronicle of the World. Editor: Jerome Burne. Held by the Chester Beatty Library, Dublin. 17th century. Unknown 160 Emperor Awrangzib Receives Prince Mu'azzam.
Size: 1801px × 2776px
Photo credit: © The Picture Art Collection / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., /, /., 17th, century., unknown.
