Context: The entrance of Thomas Roe in the Mughal Court is discussed by Nandini Das in her book ‘Courting India: England, Mughal India, and the Origins of English’. As the English ambassador to the court of the Mughal Emperor Jahangir, Thomas Roe arrived in India in 1615.
In the Mughal Court: Sir Thomas Roe
- Sir Thomas Roe was a merchant diplomat with the East India Company and England's first appointed ambassador to India.
- In September 1615, he arrived at the port of Surat carrying a letter from King James I requesting a commercial deal with the Mughal Emperor, Jahangir. Roe's arrival revealed that his mission's dual goals were to enhance Britain's standing abroad and secure trade and privileges for the Company.
- On August 17th, 1616, Jahangir presented Sir Thomas Roe with a "medal of gold as huge as sixpence" to symbolise his status as the emperor's client.
- He was identified as belonging to the noble class in the Mughal Court.
- Despite not being "a great general, a great organiser, or a great builder" like his predecessors, Thomas Roe wrote in one of his memoirs that the emperor Jahangir who governed from 1605, was "a great lover of the arts, particularly painting and architecture."
- Roe's memoirs from his time spent in the Mughal court is a crucial source not only for the factual information it contains but also for the cultural presumptions it exposes. Historians like Michael Brown and Colin Mitchell have shown that Roe did not write with imperialist goals in mind.
- Roe's journal, on the other hand, reveals aspects of the society he belonged to, including attitudes on English supremacy and the inferiority of foreign strangers, which later in the nineteenth and twentieth centuries became fundamental elements of English Imperialist culture.
Progress of English in India:
- 1600: English East India Company was founded.
- 1609: Captain William Hawkins arrived
- 1613: Surat became the location of the company's first factory.
- Sir Thomas Roe, King James I's envoy, came in 1615. The Emperor Jahangir and Prince Khurram both gave Farmans. Free commerce was made available to the Company with no inland tariffs.
- 1616: At Masulipatnam, the First Factory in the South was founded.
- 1633: EIC's first factory in Eastern India was founded in Hariharpur, Balasore (Odisha)
- 1667: English were awarded farman by Emperor Aurangzeb to trade in Bengal.
- In 1717, Emperor Farrukhsiyar issued the Golden Farman, popularly known as the Magna Carta. Many trade concessions were given.
Mughal Paintings:
- During the Mughals, the emphasis of paintings moved from representing the god to exalting the emperor and illustrating his life. They concentrated on paintings depicting hunting scenes, historical events, and other courtly subjects.
- Indian painters were influenced by the masters of miniature painting, Abdu's Samad and Mir Sayyid Ali, who had travelled to India with Humayun from Central Asia.
- The fundamental goal of painting was to provide visuals for textual works. Paintings created by different painters used as illustrations for the Persian texts Akbar-Namah and the Mahabharata.
- In Akbar's court, two well-known painters were Daswant and Basawan. Portuguese introduced European painting to Akbar's court.
- Rembrandt, a famous Dutch painter, was influenced by Mughal miniatures.
- While Shah Jahan carried on the tradition of painting, Aurangzeb's disregard for it resulted in the scattering of the painters to other regions, which in turn promoted painting in the provinces.
During Jahangir’s reign
- The Mughal paintings reached its pinnacle under the reign of Jahangir (1605–1627). By nature, he was a naturalist and favoured depictions of flora and wildlife, such as birds, animals, trees, and flowers.
- Portrait painting and animal paintings had advanced under Jahangir's reign. He placed a strong emphasis on reviving naturalism in portraiture.
- Decorated margins surrounding the paintings that were occasionally as elaborate as the paintings themselves became one of the distinctive themes that emerged during this time.
- Ustad Mansoor, who was a master in rendering the features of even the most complex faces, was one of the most well-known artists of his day.
During his rule, illustrations for the animal fable Ayar-i-Danish (Touchstone of Wisdom) were produced.
