Equestrian Portrait of the Emperor Shah Jahan from the Kevorkian Album


Historical period(s)
Reign of Shah Jahan, early 19th century
Mughal Court
Mughal School
Opaque watercolor and gold on paper
H x W: 26.8 x 18.1 cm (10 9/16 x 7 1/8 in)
Credit Line
Purchase — Charles Lang Freer Endowment
Accession Number
On View Location
Currently not on view
Album, Painting

Album folio with painting

angel, emperor, halo, horse, illumination, India, portrait, Reign of Shah Jahan (1628 - 1658), WWII-era provenance
Provenance information is currently unavailable
Previous Owner(s)

Hagop Kevorkian 1872 - 1962


Shah Jahan, the third son of Jahangir, was reputed to be the wealthiest of all Mughal emperors and surrounded himself with opulent and sumptuous buildings. He was also the most ambitious of Jahangir's sons; he deposed the rightful heir to the throne and revolted against his father, causing considerable internal turmoil. Shah Jahan himself faced the rivalry of his son, Awrangzib, who deposed in father in 1658 and had him imprisoned for eight years at Agra, where he died.

Shan Jahan was an ardent builder; he restored Agra which was founded by Akbar, his grandfather, and constructed a new city called Shahjahanabad where he spent most of his time. He is probably best remembered for the construction of the Taj Mahal, the splendid mausoleum commemorating his wife, Mumtaz Mahal, who died in 1631 while giving birth to their fourteenth child.

The equestrian portrait of Shah Jahan depicts the Emperor in full majesty, attired in a dazzling outfit and bedecked with jewels. He strides serenely on a magnificent horse which is decorated with equal splendor. The city in the background most likely represents his newly-founded capital, situated on the shores of the Jumma River, a few miles north of Agra.

The angels above herald his coming and offer him symbols of royalty: a jeweled garland, a crown and a sword wrapped in brocade.

The painting is signed by Govardhan, who was previously employed by Jahangir. This artist specialized in portraiture and represented the princes and nobles of the court as well as the more humble members of the society, such a musicians, Mullahs (Muslim theologians) and ascetics.

Published References
  • Milo Cleveland Beach. The Imperial Image: Paintings for the Mughal Court. Exh. cat. Washington, 1981. p. 189, fig. 32.
  • Hermann Goetz. Geschichte der indischen Miniatur-malerei, V. vol. 8, no. 3 Berlin, May - June 1932. following p. 144, pl. 17.
  • Annette Hagedorn. Islamic Art. Germany. p. 92.
  • Freer Gallery of Art. Gallery Book IV: Exhibition of May 22nd, 1940. Washington, D.C. .
  • Sotheby's (London). Catalogues of Valuable Oriental Manuscripts and Miniatures, Comprising a series of very important Indian drawings by the court painters of the great Moghul emperors, Shah Jahan and Aurangzib, the property of a gentleman. London, December 12-13, 1929. no. 113, pp. 13-15.
Collection Area(s)
South Asian and Himalayan Art
Web Resources
Google Cultural Institute
Rights Statement

Copyright with museum

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