Equestrian Portrait of the Emperor Shah Jahan from the Kevorkian Album

This portrait by Govardhan expert in this kind of painting drawn in early seventeenth century needs to be seen in a context of the imperialistic ambitions of Emperor Shah Jahan. He was instrumental in taking the power and authority of the Mughal Empire forward through creation of soft imperialism tactics. He patronized culture (art, architecture) and town planning in his quest for immortalizing power of Mughals in the public imagination. He was forceful in ensuring that the Emperor be considered as a semi-divine entity by the subjects. Various tools like early morning Darshans or appearances for public to start the day with blessings of the Emperor were practiced. Govardhan the Emperor’s trusted portraitist also served his Emperor’s ambition through this portrait among many others he created. The Emperor Shah Jahan is seen horse riding leisurely on the banks of the river Yamuna around which the Emperor envisioned that the imperial city be built. We can see the imperial buildings between the Emperor and the river. Shah Jahan is drawn in fine fabrics and in finery and jewels as is the horse. He is armed with a lance and smartly horse rides leisurely as he walks along (what is possibly) the Shah Jahanabad city that he commissioned and built during his reign. He has a halo around his head suggesting the semi- divine status of the Emperor which is a Persian motif. We must note that Govardhan is present at a time when Europeans have come to the Mughal court and established warm trade-based relations. Govardhan has depicted angels as welcoming the Emperor on this ride with a garland made of precious stones, a crown and a gilded sword- akin perhaps to the gifts Europeans brought to the Mughal Emperor to get trade favours. The presence of angels can be attributed to both Islamic and European art traditions. Hindu and Islamic traditions both are visible in the beautiful floral and leaf based border.