Prince Nasir al-Din Mirza became crown prince during the Qajar dynasty in 1835, as the heir of Muhammed Shah and became the ruler only thirteen years later in 1848. One can easily deduce the time of this painting being before his ascension, his adolescence evident through the portrait's the larger head and slightly awkward posture, although this may be due to Bozorg taking reference from a photograph. Jules Richard had taken a photograph of both the Prince and his sister in 1844, using cameras sent by Britain and Russia, although it is still unknown where these photographs are and thus, it is difficult to say how much of an influence they had on this portrait. Within the Qajar period, royal portraiture fulfilled multiple purposes: the legitimisation of a ruler; ceremonial rites; demonstrating a ruler's ties to a dynasty; or highlighting the continued lineage through the male heirs. In this particular instance, this portrait might be a manner of legitimising Mirza's position as the then-current crown prince, which then highlights his being the next male in the lineage. It was around this decade that Kashmiri shawls and wardrobe became symbols of imperial status, in particular as they became associated with robes of honour, known as khil'ats, within the Qajar courts. Here, the Prince wears this fashion, as could be expected from roughly the 1840s, with warm red and distinct browns taking over as the primary wardrobe colours while featuring large paisley patterning on the outer robe.

Loading Interpretations....