This painting by Balachand, titled "Jahangir and his Father, Akbar" was a part of Shah Jahan's Album, "Gulshan Album", a collection of miniatures and calligraphy assembled for the Mughal Emperor. It depicts Emperor Jahangir standing with his father Emperor Akbar. The painting is characteristically a Mughal Miniature, given the style, subject, thick border, dominance of flowers and leafs as motifs.
In this portrait, Akbar (right) stands before his son Jahangir (left) with both being in heavenly light. The halo behind their heads symbolised the idea of divine kingship and the sacred status (farr-i izadi) of the emperor. Even the placement of the falcon adds another layer to this image of imperial legitimacy given it seen across cultures as a potent symbol of nobility, kingship, skill in battle, and simply good fortune.
It is intriguing to note that the lavish couture worn by Jahangir when juxtaposed by the rather plain dress donned by Akbar seems to create an image of hierarchy where the latter appears as older and wiser but without power.In the image, both the emperors and facing towards each other and Jahangir's hands seem to be open, as if accepting Akbar's wisdom on statecraft and religious harmony.
The inscription in the lower margin, written by the picture's patron, Shahjahan, introduces another presence, creating a triad of emperors.
This painting has a simple composition with a little more details in the border (floral motifs). Akbar has a dove in his hand, showing enlightenment and wisdom. Jahangir is shown with hands postioned as praying / asking. This harmony depicts teh "Guru shishya" aspect / passing down the wisdom / knowlege generationally. This composition has a small sign by the maker probably in persian and so confirms the Mughal origin.
