In Mughal painting, the use of a radiant nimbus or halo around the head of the emperor became a special and prominent feature of portraiture under which ruler?

Introduction / Context:
Mughal miniature painting developed a rich visual vocabulary to express royal power and divine favour. One striking element was the use of a nimbus or halo behind the emperor head to suggest a kind of spiritual radiance or cosmic authority. Exam questions often ask which ruler court painters developed this artistic device most prominently. Identifying this helps connect stylistic changes in art with particular reigns.

Given Data / Assumptions:

• The focus is on the use of a nimbus or halo in Mughal portraiture.
• We are asked under which ruler it became a special feature.
• The options include several major Mughal emperors.

Concept / Approach:
Although earlier rulers experimented with halos, it was under Jahangir that the nimbus became a very deliberate and symbolic part of portraiture. Painters under Jahangir often depicted him with large, glowing halos, sometimes combined with allegorical imagery showing him in relation to cosmic symbols, saints and foreign rulers. This reflected Jahangir taste for symbolic art and his interest in presenting himself as a just, divinely favoured monarch. Therefore, even though Akbar laid foundations for Mughal art, the nimbus motif is especially associated with Jahangir.

Step-by-Step Solution:
Step 1: Recall that Mughal painting evolves from Akbar experimental style to Jahangir refined portraiture and Shah Jahan architectural elegance. Step 2: Recognise that Jahangir is particularly famous for portraits that show him with a large halo and sometimes with allegorical elements such as globes or symbolic animals. Step 3: Note that under Akbar, narrative scenes and group portraits were more common than highly stylised halo centred portraits. Step 4: Under Shah Jahan, the focus shifted more towards architectural splendour and a different kind of royal representation. Step 5: Therefore choose Jahangir as the emperor under whom the nimbus became a special feature.

Verification / Alternative check:
You can verify this by remembering well known paintings like Jahangir preferring a Sufi shaikh to kings or Jahangir holding a globe, where the large glowing halo is a key part of the image. Art history sources often highlight Jahangir reign as a high point of Mughal portraiture with strong symbolic use of halos, confirming that he is the correct answer rather than the other emperors listed.

Why Other Options Are Wrong:
Option A, Shah Jahan, did patronise art but is more associated with architecture such as the Taj Mahal and a slightly different portrait style. Option B, Aurangzeb, showed comparatively less interest in painting and is not known for this innovation. Option D, Akbar, encouraged painting but the halo motif was not as dominant under him as it became later. Option E, Humayun, re established Mughal power but his court painting is less developed and less documented than that of his successors.

Common Pitfalls:
Learners sometimes choose Akbar because he is associated with many cultural innovations, or Shah Jahan because of the Taj Mahal fame. The key is to focus on portrait style and symbolic halos rather than on general cultural activity. Linking the word nimbus with Jahangir in your memory helps you quickly avoid these common errors.

Final Answer:
The nimbus became a special and prominent feature of Mughal portraiture under Jahangir.