Bichitr was a court painter during the Mughal era and was patronized by Jahangir and Shah Jahan. He incorporated the essence of Western perspective and putti into his work. In this painting, the artist portrays the figures of two greatly influencial political figures of the contemporary time- Emperor Shah Jahan and Asaf Khan. While Shah Jahan was the force behind the growing power of the Mughals in the 17th century, Asaf Khan was the father of Mumtaz Mahal and the elder brother of Empress Nur Jahan. It's evident that Asaf Khan was politically significant because he was the administrative personnel as Grand Vizier i.e the Prime Minister during Jahangir's rule and was instrumental in Shah Jahan's accession to power. In this painting, both the subjects are depicted in a conversation but the high position of the Emperor is depicted using the Mughal imperial traditions of art along with the emerging Western Cherubs. A halo surrounds the head of the Emperor highlighting his divine nature and that light comes from the Holy Father figure painted in the top amongst the clouds. This elaborates how Emperor Shan Jahan was like God's shadow on Earth and emphasises that Asaf Khan, though powerful and wealthy, is below in rank in comparison of the Emperor. This painting shows an amalgamation of Christian ethics of the Holy Trinity in a subtle way despite the Islamic tradition of monotheism. This artwork is important to understand the ethics of the extraordinary talent of Bitchitr as he blends the serene background with the important figures of the King and the Prime Minister. This painting bears testament to the painter's skill as well as the notion of cultural exchange in art.
The painting Shah Jahan with Asaf Khan from the Late Shah Jahan Album depicts a conversation between Emperor Shah Jahan and Asaf Khan in the form of Persian and Western styles. The Persian style is depicted in the highly ornamented borders consisting of birds and intersecting thin-stroked semicircles and the outfits of the emperor and Asaf Khan. On the other hand, the western Tinch is depicted in the form of color technique, the background, and the three fathers sitting at the top of the cloud and blessing and guarding the emperor, highlighting the emperor's Hallow; it can be clearly distinguished as the emperor believes in the prophet and Allah, but the blessing from the father from heaven shows how the emperor Shah Jahan patronized the western technique of art and believed in the concept of art amalgamation. Here also the artist Bichitr needs to be praised, who mastered this amalgamation of techniques in the most beautiful way.
