The album was initiated by Emperor Jahangir (r. 1605–27) and passed onto his son Shah Jahan (r. 1628–58), who added several paintings, illuminations, and calligraphy folios.
It eventually came into the possession of Shah Jahan's son Aurangzeb (r. 1658–1707)
Purchase, Rogers Fund and The Kevorkian Foundation Gift, 1955
"Shah Jahan on Horseback", ca. 1628-30 is a particularly stunning folio from the Shah Jahan Album, by Payag ca. 1591–1658. This imperial court portrait captures the newly crowned Emperor Shah Jahan, striding forth on a fine piebald stallion in a plain turquoise and sage-green sky contained by floral-gilded border.
The Emperor is positioned front and center, in complete imperial control, dressed in an extravagant, sheer white jama and ornate orange turban and heavy necklaces of pearls. Behind his head flares a radiant golden nimbus, an iconographic convention inspired by European depictions of Christian saints and the divine kingship of Sasanian Persia that makes clear the Emperor's unqualified sovereignty and cosmic dominion. He holds a long lance effortlessly in one hand; at his side, his sword and bow are sheathed and his bow is distinguished by a microscopically detailed signature of Payag on its golden tip. He has been painstakingly described; every gem, every loose corner of sash, every whisker is portrayed with amazing fidelity.
Below, the stylized piebald horse is exquisite in naturalistic rendering of texture and formal elegance, with precisely differentiated dark and white patches contrasting sharply against a low, dark-green ground dotted with small, exquisite wild flowers. Above, swirling drifts of dramatic, pale clouds and paired, swooping birds suggest an attempt at atmosphere, referencing Payag's known use of the European device of chiaroscuro and dramatic lighting seen in his night and battle pieces.
It is this blending of total imperial flattery with psychic force that distinguishes the works of Payag, painting in the golden age of Mughal court painting. Standard equestrian portraiture is transmuted into an iconic representation of "The Grand Mughal". An unencumbered, isolated space, intended as a deliberate act to promote a perfect vision of the utopian emperor, in which Shah Jahan transcends his function as ruler to become a veritable divine image traversing his perfectly formed world.
I am immediately drawn to the richness of the colours and the incredible level of detail. The softblue- green background creates a clam atmosphere, while the bright orange turban , white robes, golden halo and the elaborate jewellery make Shah Jahan stand out as the focal point in the painting. I also find the attention given to the horse fascinating, Every detail, from it's markings to its posture is carefully rendered. What I find most interesting is that the painting fells both realistic and idealised at the same time. The details are portrayed with great accuracy yet the compilation creates an almost dreamlike image of perfection. The golden halo, the open space around the emperor and the horse gives the painting a sense of grandeur and dignity. Even though Shah Jahan's face does not show strong emotion, the artwork conveys confidence, authority & calm control. This painting represents more than just a portrait of an emperor. It feels like a statement about power, leadership and the image that rulers wanted to project. At the same time, the beauty of the composition and the peaceful marriage of colours in the peaceful atmosphere makes this artwork timeless rather than purely political.
