Gulam Murtaza Khan was a renowned late Mughal painter in the 19th century. He majorly worked under patronage of emperor Akbar Shah II. Later he also worked under British officers like Skinner and William Fraser. Gulam Murtaza was highly associated with dabaar paintings. In this painting we see the court scenario of Akbar Shah II. We see a typical court gathering centering the emperor. Akbar Shah is seated on the peacock throne. It can be assumed that it was the Diwan-i Khas of Red Fort of Delhi that was shown in this painting. If we analyse historically, this painting was mainly an imaginary illustration. As the Mughal Empire was at this point in its peak of decline, one can easily say that power was not as centralized to the emperor as it was shown. In reality British power and small independent states entered into Mughal sovereignty. Also the peacock throne didn't exist during Akbar Shah’s reign. It was imagined in this painting to show the power of emperor. Gulam Murtaza technically followed the restrained symmetrical naturalism of the Shah Jahani period in his painting. The space that is used is typically flat. The symmetrical architecture and hierarchical positioning of nobles centering Akbar Shah II ultimately marks to the central sovereignty of the Mughal emperor.
The Delhi Durbar of Akbar Shah II presents an idealized image of Mughal imperial authority at a time when the empire's political power had greatly diminished. By placing the emperor on the Peacock Throne within a perfectly ordered and symmetrical court, Gulam Murtaza Khan emphasizes sovereignty, legitimacy, and royal prestige rather than historical accuracy. The hierarchical arrangement of nobles and the formal architectural setting reinforce Akbar Shah II as the symbolic centre of power. Drawing on the refined artistic traditions of the Shah Jahani period, the painting evokes nostalgia for the Mughal Empire's former grandeur while affirming the enduring cultural and ceremonial importance of the imperial court despite its declining political influence.
