Shah Jahan with the Deccan long sword

The painting dated 1650, using opaque water color and gold is actually a page from an imperial album assembled for Shah Jahan toward the end of his reign. Only portraits of the emperors have angels hovering with a crown in the top border along with the predator peacefully paired with his prey below. Shah Jahan chose to link these symbols of peace and justice with divine sanction for his rule, as indicated by the light of the sun and moon behind his head. Royal retainers carry emblems of sovereignty in the left border. Imperial Mughal painting reached a pinnacle of refinement and formality under Shah Jahan. The artists reveal astonishing skill in their ability to render the subtle texture of the feather in his turban crest, the gleam of every jewel, the softness of his beard, and the delicacy of his costly translucent muslin robe. In his hand Shah Jahan holds a ruby-like gemstone called a spinel, prized among the Mughals for its talismanic properties of protection during battle. The Hashim, active in 1620-1660, joined the Mughal imperial atelier around 1620, after serving in the Deccan. Whereas the strong contours, costume details, and palette are considered to be vestiges of Hashim’s Deccani origins, his thoroughly Mughal rendering of facial features is attributed to changes made under Jahangir’s guidance. Here in the painting we see the Deccani influence in the style of the long sword typical of the Deccan region.

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