Shah Jahan's state portraits became progressively stiffer. Painters felt constrained to record only what was suited to the full court. Here, Shah Jahan sits upon a sumptuously incrusted Peacock Throne which has an ornamental backrest furnished with large cylindrical cushion, which is a characteristic component of Mughal thrones. The painting assumes a glacial hardness of the stones Shah Jahan so admired. He is seen in fullest glory - as a votive image of a state cult. The emperor is attired in a long angrakha reaching almost to his ankles. The wrinkled pyjama is, however, visible. Over the angrakha, Shah Jahan wears a short coat. Around the waist is a sash with both the edges falling in front. The turban is typical of his reign with a broad band which is ornamental.
In the background can be seen, the Taj Mahal, the tomb of his beloved wife who died after having borne fourteen children. A lotus pond with a lone swan is also visible. An oval picture in a square frame was a popular style. The ends are decorated in floral patterns in gold pigment which has been used extensively all over the painting. The ostentatious painting has a border of naturalistic flowers, leaves and stems completely devoid of the overbearing gold.
However masterful the painting, however refulgent the halo and however jewel-like the colors, the space around Shah Jahan is a vacuum in which he is hermetically isolated.
This description by Renu Rana.
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