Asaf-ud-Daula, the Nawab of Oudh

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This miniature renders within a broad frame consisting of floral designs drawn in fine gold the portrait of Asaf-ud-Daula, the best known Nawab of Oudh. He is as much known as the builder of the medieval Lucknow and all its architectural buildings - Imamabaras, one of India's most visited monuments and the finest example of Indo-Islamic Nawabi architectural art of the Provincial Mughal days, mosques and most other buildings. Asaf-ud-Daula, the fourth in the line of the rulers of Oudh, his predecessors being Muhammad Amin Sadat Khan, Abul Mansur Khan Safdar Jang and Shuja-ud-Daula, ruled the province of Oudh for some twenty-two years from 1775 to 1797. During the days prior to Asaf-ud-Daula Faizabad was the capital seat of Oudh.

It was Asaf-ud-Daula who shifted the capital of Oudh from Faizabad to Lucknow and with this shifted to Lucknow, and with fresh impetus, the seat of cultural and architectural activities, which gave to the town its unprecedented glory, elegance and all the sophistication Lucknow is traditionally known for. In his time, the court of Lucknow reached the height of splendour and no court in India could rival its extravagance and pomp. Working on the model of the great Mughals Asaf-ud-Daula invited to his court the top ranking poets, philosophers, architects, musicians, artists and other creative genius of his time and led Lucknow court to heights of great magnificence. What sprouted as a seed under the patronage of Asaf-ud-Daula sustained and yet sustains as a rich cultural tradition of Oudh.

Nawab Asaf-ud-Daula has been portrayed in profile but despite his face betrays deep thoughtfulness and a kind of determination on it. The artist has rendered carefully not only his thick black beard but also the knotted tuft of his hair. The influence of the European life-style is so obvious on his style of dressing - typical vertical cap with cross-motifs and frying pan-like projection, all inlaid with precious stones, wide sleeved Victorian coat with sleeve-ends and collar consisting of large emeralds, rubies and pure gold thread, broad belt on waist and to a great extent the wide loose lower garments. The plain light mauve background is again a European choice of colours. The wooden chair he is sitting in is also unlike an Indian courts where preference always went with gold. It is typical of Victorian Europe. His shoes are highly stylised. The humble looking attendant dressed in light but elegant looking garment effectively contrasts the deep magenta, red, brown, green and black used in the portrayal of the Nawab.

This description by Prof. P.C. Jain and Dr Daljeet. Prof. Jain specializes on the aesthetics of ancient Indian literature. Dr Daljeet is the chief curator of the Visual Arts Gallery at the National Museum of India, New Delhi. They have both collaborated on numerous books on Indian art and culture.

Of Related Interest:

Nawabi Style (Oil Painting)

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