Portrait of Shah Jahan
mid 17th century
Particularly in the court of Mughal India, we see greater interest in naturalism and in portraits with individual detail. These qualities are clear in this portrait of Shah Jahan, ruler of the Mughal Empire. The ruler is the focus in this image, although it hints of a landscape, with flowers scattered on a grassy ground and light clouds floating above. Because he is the ruler of a wealthy and far-reaching empire, Shah Jahan's clothing and ornaments are of central importance in this image. Although the portrait is informal, we are still meant to note the Emperor's lavish jewelry—necklaces, armbands, rings and turban ornaments. Even his jeweled slippers, gauzy overshirt and silk trousers are carefully delineated.
The artist of this portrait chose to represent the ruler in profile, which was considered the most flattering and dignified pose for portraits in Mughal painting. Making direct eye contact with the Mughal emperor was frowned on, so representations in profile reflect the way in which a viewer would probably have seen the ruler in person. Although the pose is stereotypical, Mughal artists and patrons were interested in detailed, individualized renderings of the human figure. The figure in this portrait is readily recognizable as Shah Jahan, as images of this ruler from youth to old age are remarkably consistent. But despite the interest in representing an individual, it is impossible to say whether this image reflected Shah Jahan's actual appearance. Mughal artists in general represented figures in a solid manner, with heavy faces and stouter bodies, and did not idealize the human form. What this image does present is how Shah Jahan wished to see himself and how he wanted himself portrayed in official images.
This portrait would have been seen in the context of a specially commissioned book, created at the behest of an individual patron who also selected the images the book contained. Personalized albums of paintings were highly popular and consisted of discrete images that were assembled on the basis of the patron's interests or predilections. No overarching theme or story bound the images together, and the patron was free to add or remove images at will. The album format was a flexible and personalized type of book, and it was these qualities that ensured its popularity throughout the Islamic world.
Opaque watercolor and gold on bamboo paper
6 3/4 x 4 1/8 in. (17.2 x 10.5 cm)
Gift of Rachel Young Maas, Thomas B. Young, Richard T. Young, in memory of their father, Arrigo M. Young
59.46
Provenance: Mr. Imre Schwaiger, Delhi, India; Rachel Young Maas, Thomas B. Young, Richard T. Young donated to Seattle Art Museum, Seattle, Washington in honor of their father, Arrigo M. Young, March 7, 1959.
Photo: Paul Macapia
