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.
This painting presents Akbar Shah II's court as a carefully orchestrated spectacle of imperial authority, where symmetry and ceremonial hierarchy affirm the dignity of the Mughal throne. The inclusion of Sir Charles Metcalfe, the British Resident, introduces a subtle political tension, revealing the growing influence of the East India Company. Consequently, the work juxtaposes the grandeur of Mughal ceremonial sovereignty with the realities of its diminishing political power.
