Abstract
Noureddine Jahangir (ruling 1605-1627), king of India was one of the tasteful rulers who was interested in dream and its interpretation. He was used to sharing his dreams with others and ask for their opinion about them. He also was used to asking from his reliable painters to picture the dreams. From these images the image of Jahangir Embracing Shah Abbas can be addressed. The purpose of this paper is obtaining hidden deep concept of mentioned image by iconological approach of Erwin Panofsky. Panofsky believes that for recognizing the hidden meanings of artworks, considering the relationship between the details of artwork and general culture and the society that the artwork has gotten formed is necessary. In this paper it is tried to answer to this question: what cultural and political factors did have role in forming the mentioned image? The most important results of this research show that the European Christian elements which had been entered to India Mongolian Painting School was effective. On the other hand the political relations of Iran and India because of the dispute over control of Kandahar was not good.
Highlights
Dream is the experiencing thoughts, images or emotions which get done by the time of sleeping
This paper aims to specify the effective factors in creating such environment by Erwin Panofsky iconological approach, aims to decode the symbolic elements of image
In this paper it is tried to investigate the symbolic elements of image of Jahangir Embracing Shah Abbas by attention to symbolism of India Mongolian School during the time of Jahangir by implementing Erwin Panofsky method
Summary
Dream is the experiencing thoughts, images or emotions which get done by the time of sleeping. In final stage named iconology it is aimed to specifying the hidden concepts of symbolic elements of image, the relation of these elements with life and spirit of Jahangir as the person who order the work be investigated.
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