"Shah Jahan on a Terrace, Holding a Pendant Set With His Portrait", Folio from the Shah Jahan Album 1627 - 1628

Chitarman painted "Shah Jahan on a Terrace, Holding a Pendant Set With His Portrait", sometime in the 17th century, as part of the Shah Jahan Album. Mughal art served as a powerful tool for emperors like Shah Jahan to construct and disseminate their image. This painting presents a highly idealized vision of the emperor, standing on a raised platform, bathed in divine light, with cherubic figures overhead. He is the epitome of masculine authority, his dominance reinforced by the almost feminine softness of his pink garments. The hyper-controlled setting and the emperor’s poised demeanor suggest not just power, but a kind of serene detachment. But consider the artist, Chitarman, who, despite his skill, remains largely in the shadows of history. What did it mean for artists of different backgrounds and social standing to contribute to the making of such imperial images? This piece invites us to consider the complex layers of identity, power, and representation that define not only the subject, but also the artistic ecosystem in which the painting was created.