Shah Jahan on Horse back

This grand equestrian composition shows a bejeweled Shah Jahan with a radiating nimbus astride a royal stallion. Do notice the subtle radiance around the point of the emperor’s spear as if piercing beyond the human realm. This was one of the imperial Mughal portraitures disseminated around the world to depict the likeness of “The Grand Moghuls”. Even the Dutch painter Rembrandt copied this one in his own style. The artist’s signature, located on the extension of the saddle tells us that its Payag. Royal portraiture was a rare genre for Payag. This imperial likeness stands in contrast to the artist’s use of smoky landscapes and dark washy tones for the Padshahnama. Payag worked for the emperors Akbar, Jahangir, and Shah Jahan over the course of a remarkably long, seven-decade career, and his brother Balchand was also a talented painter with whom he collaborated on a handful of paintings. Like many artists of the royal court, the brothers were of Hindu faith. Several later copies of this paintings were made in different forms – one of the famous copies was made by Govardhan. The portrait is from the Shah Jahan Album or the Emperor’s album. Western provenance also describes this as the Kevorkian Album, after an Armenian-American collector who donated the album to the Met Museum. The album features fifty illustrated and calligraphy folios, forty-one of which are in custody of the Metropolitan Museum, and nine reside in the collection of the Freer Gallery of Art. This spectacular album, contains intimate nature studies, portraits of the royal family, various dignitaries, and fine examples of illuminated folios of calligraphy by renowned calligraphers. The album offers a glimpse into the courtly life and diverse interests of its patrons. The album was initiated by Emperor Jahangir and passed onto his son Shah Jahan who added several paintings, illuminations, and calligraphy folios. It eventually came into the possession of Shah Jahan’s son Aurangzeb who perhaps added little to the album. Alamgir’s seal on one folio confirms that he was once the owner. Later Mughals continued to add more folios to the album until the 19th century.

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