The Mughal prince Aurangzeb, assumed the title Alamgir (World Seizer) when he deposed his seriously ill father Shah Jahan in 1658. In this portrait, he is shown as a middle aged man, standing, full length, in profile against a plain pale green background, holding a long sword and whisk, wearing a striking purple jama and adorned with lavish jewels, and with the characteristic halo that was employed by his ancestors. In the later part of his life, he rejected such refinements as he turned toward religious asceticism and reduced the artist output at the court.

The composition follows the tradition in Mughal portraiture that had begun in the late 16th century. Aurangzeb inherited an immensely wealthy empire, but squandered the imperial coffers through a sustained campaign against the Muslim sultanates of the Deccan. Even though Aurangzeb ultimately prevailed, it came at an enormous cost and lead the decline of the Mughal empire.

On the verso is most likely a portrait of Bahadur Shah I and not Mirza Azim-ush-Shan as indicated in the inscription. He is shown as a youthful man in a splendid white jama decorated with spring flowers, bejewelled, and armed with sword, dagger and shield.

Compare with an identical drawing of Aurangzeb, by Anup Chattar, 1658–1659, Christie’s, 23 April 2012, lot 302. Also compare with a more refined version dated circa IS MO1700 sold Christie’s, New York, 19 June, lot 78. Another portrait of Bahadur Shah I is in the Bibliotheque National de France, dated 1670 shares the same unique adornment of strands of jewels over his turban, see Francis Robinson, The Mughal Emperors: and the Islamic Dynasties of India, Iran and Central Asia 1206 -1925, London, 2007, (cover image).