Nur al-Din Muhammad Salim Jahangir Padishah (Translated)
Jahangir, Emperor of Hindustan (Translated)
Jihangir (Alternate transliteration)
Jehangir (Alternate transliteration)
نور الدين محمد سليم (Alternate)
Nur al-Din (Transliterated)
Nur-ud-Din (Alternate transliteration)
Nuruddin (Alternate transliteration)
سلطان سليم ساه (Formerly known as)
Sultan Salim Shah (Transliterated)
Salim Shah (Transliterated)
Jahangir was the fourth Mughal Emperor of India. The imperial name Jahangir means "World Seizer," and was chosen at the time of his accession to the throne in 1605/1014 AH. His given name was Muhammad Salim and he also took the honorific name (laqab) Nur al-Din, meaning "Light of the Faith."
Jahangir's most significant contributions fell in the patronage of culture. He wrote his own memoir, known as the Tuzuk-i Jahangiri, which includes valuable observations of the people and places he knew. During the period of his rule, art also flourished. Because Jahangir actively commissioned portraits of people as well as studies of the flora and fauna of the northern Indian subcontinent, a rich legacy of painting and drawing has come down to us.
In the political arena Jahangir gradually lost control to his most powerful wife, Nur Jahan, who became a de facto ruler. Not only was she able to influence matters from behind the scenes, but coins were struck in her name and she is even said to have issued firmans. Jahangir's memoir includes several anecdotes pointing to her political ambition and her prowess in regal pastimes like hunting.
Court intrigue was not absent from Jahangir's reign. He had strained relationships with his sons Khusraw and Khurram, both of whom rebelled openly against their father at various points due to fighting over succession to the throne. Khurram would ultimately succeed to the throne as Shah Jahan upon Jahangir's death.
The Tūzuk-I-Jahāngīrī, or Memoirs of Jahāngīr. Translated by Alexander Rogers and edited by Henry Beveridge. New Delhi: Munshiram Manoharlal, 2003.
The Jahangiri Quadrangle refers to a palace court in Lahore Fort. The central area of the courtyard contains a central tank with a mahtab, or platform, and a series of fountains. The group of buildings set around the quadrangle was completed by Jahangir. The buildings consist of small, flat-roofed rooms supported by red sandstone pillars. The chajja, or projecting eave, of the courtyard wings is supported by zoomorphic brackets carved in the shape of elephants, felines and peacocks. The style is a combination of the local tradition in brick architecture, with adaptations from the imperial style as seen in Agra and Fatehpur Sikri. The main building of the court, the Khawabgah-i- Jahangiri, Jahangir's sleeping rooms, stands in the middle of its north side. Some describe the quadrangle as the main zenana, or women's quarter, of the palace.
Koch, Ebba. Mughal Architecture: An Outline of its History and Development (1526-1858), 84, 94. Munich: Prestel, 1991.
Asher, Catherine. The New Cambridge History of India: Architecture of Mughal India, 113-14. Cambridge: Cambridge University Press, 1992.