A Presentation Portrait of Mughal Emperor Farrukhsiyar, attributed to Kalyan Das (Chitarman II), Northern India / Mughal, circa 1713-1715

New York private collection, prior to 1978.

This is a previously unpublished presentation portrait of the Mughal Emperor Farrukhsiyar attributable to the court artist Kalyan Das (also known as Chitarman II later in his career) depicting the emperor in profile against a luminous olive-green ground. The emperor is depicted full length, facing left with his head surrounded by a radiant golden nimbus.

Wearing a brilliant golden jama adorned with delicate floral sprays. The textile's floral patterning perhaps reflecting the Mughal fascination with formal gardens and botanical beauty. His jewelry comprises multiple strands of pearls across his chest and shoulders, pearl and gem-set bracelets and an ornate turban ornament (sarpech) with clusters of precious stones set in gold topped with a black plume. In his right hand, he holds a jeweled ceremonial sword as a symbol of imperial power and martial authority.

Kalyan Das (active circa 1710 - 40) is the Mughal artist most associated with royal portraits of Emperor Farrukhsiyar. Several other portraits are known depicting the emperor in the same formal pose - in profile, facing right or left as in our example or horseback, dressed in a lavish gold jama often in the presence of court figures. The present painting is attributed to Kalyan Das given the superb quality and immediacy of the portraiture and its color palette with lavish gold and moss green.

The artist's work represents an important bridge between the classical Mughal painting tradition of the seventeenth century and the evolving styles of the eighteenth century. While maintaining many of the formal conventions established by earlier masters like the imperial profile view, the flattened pictorial space and the emphasis on decorative detail - he brought his own sensibility to portraiture, particularly in his subtle use of color and his ability to convey both imperial authority and individual character.

Emperor Farrukhsiyar ascended to the Mughal throne in 1713 with the support of the powerful Sayyid brothers, who effectively controlled much of the empire's administration. His brief six-year reign was marked by political intrigue and factional conflicts at court, ultimately ending with his deposition and execution in 1719. Despite these turbulent circumstances, the imperial atelier continued to produce portraits of exceptional quality.

The present portrait likely dates from the early years of Farrukhsiyar's reign, when such images would have been commissioned to establish his imperial identity and circulate his likeness among the nobility and provincial governors. The emphasis on magnificent costume and jewelry, the divine nimbus, and the formal composition all assert the emperor's authority and succession to the throne during a period when both were increasingly challenged.

The painting is fresh to the market,not having been published previously. Portraits of Farrukhsiyar are quite rare compared to those of longer-reigning emperors, making attributed examples by known court artists particularly significant for understanding this pivotal moment in Mughal history.

Reference:

Falk, Toby, and Mildred Archer "Indian Miniatures in the India Office Library" London: Replica Shoes Parke Bernet, 1981.

Leach, Linda York "Mughal and Other Indian Paintings from the Chester Beatty Library" London Scorpion Cavendish, 1995.

McInerney, Terence "Chitarman II (Kalyan Das)" essay in Milo C. Beach, Eberhard Fischer and B.N. Goswamy, "Masters of Indian Painting II 1650-1900", Zurich 2011, pp. 547-562.