Metropolitan Museum of Art in Manhattan, New York City, United States.
The painting showcased above depicts the portrait of Khwaja Sabir who was patronized by Abdur Rahim ‘Khan-i-Khanan’ in his youth and went on to enlist his services to Nizamshahi ruler of Ahmednagar. Khawaja Sabir served in various military positions during his splendid career that stretched across three decades. He was noted for his bravery and unstinting loyalty to his master, whomsoever he served. Khawja Sabir switched his allegiance as per the political winds of the times he was living in, he went back and forth with the Mughal prince Khurram (Shahjahan), the blue eyed boy who famously rebelled against his father to crown himself the sovereign of the vast territorial empire. He briefly served under master strategist, and able military leader Malik Amber, but upon his death presented himself at the court of Shahjahan only to be awarded with Mansabdari rank of 3000. His military prowess commanded such admiration from the Emperor that he became the highest imperial rank holder of nonroyal blood. Khawaja Sabir also earned various moniker and titles during his service, such as Shahnawaz Khan, Nasiri Khan, Bahadur, Khan-Duran (later Nusrat-Jang upon Khan-Duran).
The artist behind the finely crafted royal portrait is Murad, one of the lesser known painters from the Shahjahan era who was more engaged in designing and detailing the interior of Shahjahan’s palace. The painting contains characteristic floral borders which reflect the immaculate skills of the artist commissioned on the work and the times it was composed in, where Mughal sovereigns were obsessed with capturing the raw natural beauty of furnished gardenscapes.
The portrait depicts Khwaja Sabir, a distinguished military commander who served Mughal and Deccan rulers, eventually attaining the prestigious mansabdari rank of 3000 under Shah Jahan. Painted by Murad, the work exemplifies Mughal court portraiture through its refined detailing, formal presentation, and characteristic floral borders. The emphasis on naturalistic ornamentation reflects Shahjahani aesthetics and the period’s fascination with gardens and nature.
