Mughal paintings made in India in the 17th century originally were bound together in albums that emperors quietly perused, but most of the albums were broken apart in later centuries so that individual illustrations could be sold on the art market.

The Arthur M. Sackler Gallery exhibit "Muraqqa: Imperial Mughal Albums from the Chester Beatty Library, Dublin" showcases 86 illustrations that give a sense of the beautiful effect the albums once had.

These highly detailed paintings were commissioned by the lofty likes of the emperors Jahangir and Shah Jahan, whose wealth, political power and good taste resulted in artworks that celebrate their elite status. Indeed, several of the paintings depict an emperor standing atop a globe.

It's a reminder that the Mughal empire covered a lot of Asian territory in that era, and flourishing international trade made other nations in Asia, Africa and Europe aware of Mughal prestige. This was the culturally rich period when such architectural treasures as the Taj Mahal were built.

The paintings in the current exhibit are not large, because they were intended for albums (Muraqqa in Persian). Using colored pigments and gold on paper, the artists have a subtle sensibility in terms of design and coloration. Their attention to detail extends to the calligraphic and ornamental borders surrounding the central image. These painterly qualities obviously appealed to the American-born businessman Sir Alfred Chester Beatty, who assembled this collection in the early 20th century.

The emperors for whom the paintings were made used them as visual reinforcement for their rule. In "Akbar, Jahangir and Shah Jahan with their Ministers" (c. 1630-31), court life is on sumptuous display. There also are single portraits, such as "Jahangir Wearing a Tie-Dyed Patka" (c. 1620), in which the sword-wielding monarch is seen in dignified profile.

Royal ceremonies are featured in such paintings as "Jahangir Celebrates the Hindu Festival of Holi" (c. 1635), and bravery is the subject in "Salim Kills a Rhinoceros and a Lion" (c. 1600-04).

The role of the arts within this sophisticated society is emphasized in "Soldiers Listening to Music Beneath a Mango Tree" (c. 1640) and "Music at an Encampment" (c. 1620-30). And female beauty seems to be the excuse for "The Women at the Well of Kanchinpur" (1603-04).

Mughal rulers were aware of the wider world and, for that matter, European merchants and Christian missionaries lived in India. Even so, it's initially a bit of a surprise to see such Mughal paintings as "The Virgin Mary and the Christ Child with Cross in the Clouds" (c. 1595-1600). European subject matter and artistic styles are incorporated in these hybrid works.

The god-like Mughal emperors were curious about the religious beliefs of exotic European countries, and perhaps felt that wise and powerful figures belong together. That would explain "Jahangir and Jesus" (c. 1610-20), in which two separate portraits are placed next to each other. One can speculate about what Jesus would say of this pairing, but Jahangir certainly seems pleased with himself.

"Muraqqa: Imperial Mughal Albums from the Chester Beatty Library, Dublin" remains through Aug. 3 at the Smithsonian's Arthur M. Sackler Gallery, in Washington, D.C. Call 202-633-1000 or go to www.asia.si.edu.

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