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The Emperor Shah Jahan on the "Peacock Throne"

'Abid, son of Aqa Riza (AKA Muhammad 'Abid), Indian, b. 17th century

Creation date: 1640

Creation place: India

Other Information

Type: Manuscript Painting

Medium and Support: Opaque watercolor and gold on paper, mounted as an album page

Credit Line: Edwin Binney 3rd Collection

Accession Number: 1990.352

State/Province: Delhi

Dimensions: 14 7/16 in. x 9 27/32 in. (36.7 cm x 25 cm)

Provenance

A. C. Ardeshir, Mumbai, Maharashtra, India ( - ca. 1945)

Sotheby's, London, England (March 26, 1973 - March 26, 1973)

Langford, London, England (March 26, 1973 - March 26, 1973)

Edwin Binney 3rd, San Diego, California (March 26, 1973 - August 27, 1990)

San Diego Museum of Art, San Diego, California (August 27, 1990 - )

Label Copy

Made to illustrate the offical history of Shah Jahan's reign, this painting was never inserted into the imperial manuscript, which is now in the royal collection in Windsor Castle. The Padshahnama paintings are the most sumptuous and grand Mughal pictures; their lavishness and quality directly reflect the wealth and power of the emperor. Shah Jahan is seated on the Peacock Throne, receiving jewels from his sons and obeisance from his courtiers.In black ink on the foot of the throne the artist 'Abid has written raqm walad aqa reza 'abid sanna 13, . . . dar do sal . . . . tamam shud 23 Ramzan. This can be translated as follows: The work of the son of Aqa Reza, 'Abid, in the 13th regnal year. [The work] took two years [and] was finished on 23 Ramzan. The month has previously been read Sha'ban rather than Ramzan. 'Abid would not have noted that the painting took him two years to make had it not been finished within two weeks of two years' time. The men in the painting are mentioned in the text:Shah Jahan is receiving a jewel from (or giving it to) the heir apparent, [1] Prince Dara Shikoh. Below Shah Jahan at the right is [2] Prince Shah Shujah. The little boy is [3] Prince Murad Bakhsh. The three bearded men to the left of Dara Shikoh are [4] Yamin ud-Daula (the brother of the princes' mother Mumtaz Mahal, for whom the Taj Mahal was built), the Prime Minister, [5] Sayyid Khan Jahan, and [6] 'Abdallah Khan. At the right are three courtiers who have been given robes of honor, the long gold coats shown open down the front to indicate that they have just been put on: [7] Raja Gaj Singh (Shah Jahan's mother's brother), [8] Jaffar Khan, and [9] __________. At the lower left [10] Khan Dauran Nusrat Jang, the Governor of Malwa, salutes the emperor. With him are [11] Shayista Khan and [12]Muammar Khan, who have also donned their robes of honor.The text for the incident reads:After returning from a hunting expedition, the Emperor reached the Nur Manzil garden outside the metropolis [Agra] on 8th of Ramzan (25 January 1638), where a royal audience was held. On the morning of the 9th of Ramzan 1047 (26 January), His Majesty proceeded to Akbarabad [Agra] and entered the exalted Hall of Public Audience in the fort, where preparations had been made for the celebration of the annual weighing ceremony, on the occasion of the completion of the forty-sixth solar year of his eternal age. For this auspicious ceremony, carpets had been spread and gold and silver canopies erected. At the appointed hour, His Majesty's august person was weighed against gold, silver, and the other customary articles. Following the weighing ceremony, His Majesty took his seat on the renowned Jeweled Throne, whose effulgence rivals that of the radiant sun, and dispensed royal largesse upon those in attendance. To the illustrious Princes Muhammad Dara Shikoh, Muhammad Shah Shuja' Bahadur, and Murad Bakhsh, three superb horses from the imperial stable were awarded, each furnished with a golden saddle with enameled work. At the same time, two similar horses were dispatched to Prince Muhammad Aurangzeb Bahadur at Daulatabad, one with a gold and enameled saddle, and the other with a plain gold saddle. To Yamin ud-Daula, two similar steeds were presented, while robes of honor were awarded to Sayyid Khan Jahan and Raja Gaj Singh.At this time also the peshkash offering of Khan Dauran Nusrat Jang, governor of Malwa, was presented, which consisted of two thousand bolts of the costly and delicate do-dami flowered cloth whose manufacture has long been a specialty of that region, and which has now reached the pinnacle of perfection during this glorious regime, the climax of patronage of craftsmanship. In summer the sacred apparel of His Majesty is fashioned from this cloth, and the cost of a single garment is eighty rupees for one with colored flowers and forty rupees for a plain one. After granting special winter robes of honor to Khan Dauran, Shayista Khan, and other chiefs appointed to service in the Deccan, His Majesty also bestowed honors upon Sayyid Jalal and his two sons, Salabat Khan, Mulla 'Abd al-Latif and others. Whereupon the auspicious assembly closed with all happiness, merriment, and success.

Power & Desire, 04/00
Here, Shah Jahan, the wealthiest Mughal Emperor and builder of the Taj Mahal, gives audience to his sons and some nobles in a special birthday celebration. He inspects a pearl tendered by his favorite son, Dara Shikoh.
A halo declares Shah Jahan’s divine powers, and his seat - the fabled peacock throne - proclaims his worldly wealth. The Mughal darbar (royal audience) is governed by an elaborate etiquette, clearly observed in the painting. Only the emperor sits; sons, nobles, tributaries and lowly entertainers stand at the level and distance dictated by their rank. Some of the nobles have just donned golden robes of honor, gifts from the Emperor that have been blessed by his touch.
The Mughal court etiquette followed here was laid down by Shah Jahan’s grandfather, the Emperor Akbar:
The emperor sits on the throne with crossed legs, a position of comfort allowed to persons of rank. The eldest prince places himself at a distance of one to four yards from the throne; the second prince stands from one and one-half to six yards from the throne. Then come the Elect of the highest rank, who are worthy of the spiritual guidance of His Majesty, at a distance of three to fifteen yards. After this follow the senior grandees, from three and one-half yards and then other grandees, from ten to twelve and one-half yards from the throne. All the others stand in the wings. The place before the throne stands free.
A’in 75, from A’in-I-Akbari (The Institutes of Akbar)
by Abul Fazl

October 2005
Domains of Wonder
The wealth and opulence of the imperial Mughal court become especially evident in paintings made during the reign of Shah Jahan, son of Jahangir and grandson of Akbar. The emperor now appears with a halo, as though infused with the light of Allah. He sits on a jewel-studded peacock throne, amid the finest textiles, loyal courtiers, sons, and a female percussion orchestra. He is shown presenting an enormous emerald topped by a pearl to his eldest and favorite son and heir.
During this grand moment, Shah Jahan would not have guessed that eighteen years later he would be overthrown by his fourth son, who would deliver the eldest son's head to him in his prison overlooking the Taj Mahal, the tomb he built for his beloved wife.

Sonya Quintanilla (2014) Quebec
'Abid, son of Aqa Riza
The Emperor Shah Jahan on the Peacock Throne
From the Padshahnama (“Histories of the Reign of the King of the World”)
India, 1640
Opaque watercolor and gold on paper, mounted as an album page. 36.7 x 25 cm
Edwin Binney 3rd Collection, 1990.352

The wealth and opulence of the imperial Mughal court become especially evident in paintings made during the reign of Shah Jahan, son of Jahangir and grandson of Akbar. The emperor now appears with a halo, as though infused with the light of Allah. He sits on a jewel-studded Peacock Throne amid the finest textiles, surrounded by his courtiers, sons, and a female percussion orchestra. This page is from an imperial collection of paintings depicting historical passages in the reign of Shah Jahan.

Most of the figures in the painting can be identified. Prince Dara Shikoh, the heir apparent is in the turquoise garment before the emperor. During this grand moment, Shah Jahan would not have guessed that eighteen years later he would be overthrown by his third son Aurangzeb, who would deliver Dara Shikoh's head to him in his prison overlooking the Taj Mahal, the tomb he built for his beloved wife.

In black ink on the foot of the throne the artist 'Abid has written: “The work of the son of Aqa Riza, 'Abid, in the 13th regnal year. [The work] took two years [and] was finished on 23 Ramzan.”
Last Updated: 9/5/2017

Exhibition

This object was included in the following exhibitions:

The Mughal and Deccani Schools: Indian Miniature Painting from the Collection of Edwin Binney, 3rd The Portland Art Association , 12/2/1973 - 3/7/1976

The Grand Mogul: Imperial Painting in India, 1600-1660 Sterling and Francine Clark Art Institute , 9/25/1978 - 6/10/1979

Life at Court: Art for India's Rulers, 16th-19th Centuries Museum of Fine Arts, Boston , 11/20/1985 - 5/11/1986

Romance of the Taj Mahal Los Angeles County Museum of Art , 12/17/1989 - 3/17/1991

Myths, Monsters, Maharajas: Introducing the Binney Collection San Diego Museum of Art , 11/23/1991 - 1/26/1992

Power & Desire: South Asian Paintings from the San Diego Museum of Art, San Diego Museum of Art , 4/29/2000 - 10/5/2003

Domains of Wonder: Selected Masterworks of Indian Painting San Diego Museum of Art , 10/22/2005 - 1/27/2008

Into India: South Asian Paintings from The San Diego Museum of Art San Diego Museum of Art , 2/28/2012 - 5/27/2012

Bibliography

This object has the following bibliographic references:

Dr. Ellen Smart. San Diego Museum of Art, San Diego Museum of Art. San Diego, California, 1993
Page Number: 71, 76, 77, Figure Number: 77

Dr. Edwin Binney, 3rd. The Mughal and Deccani Schools Portland Art Museum. Portland, Oregon, 1973
Page Number: 80, 81, 83, Figure Number: 58

Dr. Edwin Binney, 3rd. The Mughal and Deccani Schools Portland Art Museum. Portland, Oregon, 1973
Page Number: 96, 100, Figure Number: 58

Dr. Milo Cleveland Beach and Mr. Stuart Cary Welch. The Grand Mogul: Sterling and Francine Clark Art Institute. Williamstown, Massachusetts, 1978
Page Number: 78, 79, 80, Figure Number: 24

Mr. Stuart Cary Welch. The Grand Mogul: Sterling and Francine Clark Art Institute. Williamstown, Massachusetts, 1978
Page Number: 177, 179

Vishakha N. Desai. Life at Court: Museum of Fine Arts, Boston. Boston, Massachusetts, 1986
Page Number: xvi

Vishakha N. Desai. Life at Court: Museum of Fine Arts, Boston. Boston, Massachusetts, 1986
Page Number: 13-14, 15, Figure Number: 12

Vishakha N. Desai. Power & Desire: San Diego Museum of Art. San Diego, California, 2000
Page Number: 2, 3, Figure Number: 1

Kavita Singh. Orientations Orientations Magazine Ltd. Hong Kong, May 2000
Page Number: 60-61, Figure Number: 1

Mr. Robert L. Pincus. Night & Day The Union-Tribune. San Diego, California, May 11, 2000
Page Number: 49

Usha Ramamrutham Bala Krishnan and Meera Sushil Kumar. Dance of the Peacock: India Book House Limited. Mumbai, India, 1999
Page Number: 134, 135, Figure Number: 189

Dr. Caron Smith. Arts of Asia Arts of Asia Publications Ltd. Hong Kong, September 2000-October 2000
Page Number: 90, 91, Figure Number: 10

Holland Cotter. The New York Times The New York Times. New York, New York, October 27, 2000
Page Number: B35

Power and Desire: Hong Kong Museum of Art. 2001
Page Number: cat. no. 2, Figure Number: 2

Monisha Bharadwaj. Great Diamonds of India India Book House Pvt Ltd. Mumbai, India, 2002
Page Number: 82, 83, 140, Figure Number: 82

Dr. Milo Cleveland Beach. King of the World: Azimuth Editions Limited. London, England, 1997
Page Number: 219 E, 227 note 9, Figure Number: 146

Wayne Edison Begley. Facets of Indian Art: Victoria and Albert Museum. London, England, 1986
Page Number: 144-146, 151 notes 19-24, Figure Number: 7

Catalogue of Important Mughal Miniatures, Sotheby & Co.. London, England, March 26, 1973
Page Number: 14, Lot no. 9, 15, Figure Number: 9 and detail

Vishakha N. Desai. Pouvoir et Désir: Miniatures Indiennes, Collection Edwin Binney 3rd du San Diego Museum of Art Paris musées/Éditions Findakly. Paris/Suilly-la-Tour, France, 2002
Page Number: 12

Kavita Singh. Pouvoir et Désir: Miniatures Indiennes, Collection Edwin Binney 3rd du San Diego Museum of Art Paris musées/Éditions Findakly. Paris/Suilly-la-Tour, France, 2002
Page Number: 15, 17, Figure Number: 2 (detail)

Roselyne Hurel. Pouvoir et Désir: Miniatures Indiennes, Collection Edwin Binney 3rd du San Diego Museum of Art Paris musées/Éditions Findakly. Paris/Suilly-la-Tour, France, 2002
Page Number: 27, Figure Number: 2 (detail)

Amina Okada. Pouvoir et Désir: Miniatures Indiennes, Collection Edwin Binney 3rd du San Diego Museum of Art Paris musées/Éditions Findakly. Paris/Suilly-la-Tour, France, 2002
Page Number: 30, 31, 32, 44, 68, Figure Number: 2

Amina Okada. Pouvoir et Désir: Miniatures Indiennes, Collection Edwin Binney 3rd du San Diego Museum of Art Paris musées/Éditions Findakly. Paris/Suilly-la-Tour, France, 2002
Page Number: 79

Aman Nath. Dome Over India: India House Book Pvt Ltd. Mumbai, India, 2002
Page Number: 12, 149, Figure Number: 12 (detail)

Dr. Mohinder Singh Randhawa. Indian Miniature Painting Roli Books International. New Delhi, India, 1981
Page Number: 6, 33, 34, Figure Number: 14

Brijinder Nath Goswamy and Kalyan Krishna. Indian Costumes in the Collection of The Calico Museum of Textiles: Calico Museum. Ahmedabad, India, 2000
Page Number: 30, Figure Number: 18

Dr. Caron Smith. San Diego Museum of Art, San Diego Museum of Art. San Diego, California, 2003
Page Number: 77, Figure Number: 77

Som Prakash Verma. Mughal Painters and Their Work: Oxford University Press. New Delhi, India, 1994
Page Number: 47 no. 2

Susan Stronge. Jewelled Arts of Mughal India Society of Jewellery Historians. London, England, 2004
Page Number: 61, 64, 67 note 55, Figure Number: 11

Stephen Markel. Romance of the Taj Mahal Los Angeles County Museum of Art. Los Angeles, California, 1989
Page Number: 129, 134, Figure Number: 130

Dr. Sonya Quintanilla. Veranda Veranda Publications Inc.. Atlanta, Georgia, September 2005-October 2005
Page Number: 110, Figure Number: 110

Brijinder Nath Goswamy and Dr. Caron Smith. Domains of Wonder: San Diego Museum of Art. San Diego, California, 2005
Page Number: 142, 143, Figure Number: 55

Mr. Pramod Chandra and Dr. Sonya Quintanilla. Rhythms of India: San Diego Museum of Art. San Diego, California, 2008
Page Number: 29, 31, Figure Number: 6

Dr. George Michell. Mughal Style: India Book House Pvt Ltd. Mumbai, India, 2007
Page Number: 10, 11, Figure Number: 10

Dr. George Michell. Mughal Style: India Book House Pvt Ltd. Mumbai, India, 2007
Page Number: 264, Figure Number: 7

Molly Emma Aitken. The Intelligence of Tradition in Rajput Court Painting Yale University Press. New Haven and London, 2010
Page Number: 128, Figure Number: 3.9

Mr. Michael Hall. The Binney Leaf: the depiction of reality in Mughal painting London, 9/2007
Page Number: 79, Figure Number: Fig. 1

George Michell. History of Design: Decorative Arts and Material Culture, 1400-2000 Bard Graduate Center: Decorative Arts, Design History, Material CultureMaterial Culture. Yale University Press, New Haven and London, 2013
Page Number: 181, Figure Number: 8.11

Dr. Sonya Quintanilla and Patrick Coleman. Visiones de la India Museo Thyssen-Bornemisza. Madrid, 2012
Page Number: 166, 283-4, Figure Number: cat. 73, p. 166

Dr. Sonya Quintanilla and Patrick Coleman. Visiones de la India (Mexico) Instituto Nacional de Antropologia e Historia. Mexico , 2013
Page Number: 108, Figure Number: cat. 71, p. 109

Sotheby's, New York. Sotheby's Catalogue Sotheby's. New York, 12/09/2010
Page Number: 291

Dr. Milo Cleveland Beach and Brijinder Nath Goswamy. Masters of Indian Painting: 1100-1650 Artibus Asiae Publishers. Zurich, 2011
Page Number: 232, Figure Number: fig. 5, p. 237

Koch, Ebba. The Wooden Audience Halls of Shah Jahan Muqarnas. Leiden and Boston, 2013
Page Number: 369, Figure Number: 14

Asok Kumar Das. Splendour of Mughal Painting Vakils, Feffer & Simons Limited. Bombay, India, 1986
Page Number: 48-49, Figure Number: Plate XV

Ms. Marika Sardar and Ms Neeraja Poddar. Epic Tales from Ancient India San Diego Museum of Art. San Diego, California, 2016
Page Number: 11, Figure Number: 4

Marks

Inscription, On front: painted by the son of Aqa Riza, 'Abid, in the year 13 (of the reign)

Inscription, On front: prepared in two years/completed on the 23rd of (the month of) Ramazan

Inscription, On reverse:

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