Artwork

Dost Muhammad (d.1863), Amir of Afghanistan, with his three sons, Muhammad Akram Khan, Haidar Khan and Abdul Ghani Khan, seated on a carpet

Dost Muhammad (d.1863), Amir of Afghanistan, with his three sons, Muhammad Akram Khan, Haidar Khan and Abdul Ghani Khan, seated on a carpet, by Unknown, paint, 1840
Dost Muhammad (d.1863), Amir of Afghanistan, with his three sons, Muhammad Akram Khan, Haidar Khan and Abdul Ghani Khan, seated on a carpet, by Unknown, paint, 1840

Dost Muhammad (d.1863), Amir of Afghanistan, with his three sons, Muhammad Akram Khan, Haidar Khan and Abdul Ghani Khan, seated on a carpet is a paint painting by the Romanticist artist Unknown. It dates from 1840 and is held in the collection of the Victoria and Albert Museum.

About this work

Overview

The painting presents a seated group portrait of Dost Muhammad, the Amir of Afghanistan who ruled until his death in 1863, together with his three sons—Muhammad Akram Khan, Haidar Khan and Abdul Ghani Khan. All four figures are positioned cross‑legged on a richly patterned carpet, set before a window that opens onto a distant watery landscape.

Subject & Meaning

Dost Muhammad occupies the central position, distinguished by a green robe, a white headband and a book resting on his lap, indicating his authority and scholarly interests. Flanking him are his younger sons, each in vivid orange, black and blue garments, their attire less elaborate but still formal, suggesting a lineage of succession and familial continuity within the Afghan ruling house.

Technique & Style

The work employs a detailed, realistic approach to clothing and texture, rendering the intricate designs of the carpet’s red‑and‑blue borders and the subtle play of light from the window. The figures are rendered in flat, saturated colors typical of 19th‑century court portraiture, while the background water scene provides a muted spatial contrast that frames the domestic setting.

History & Provenance

Created in the mid‑19th century, the painting likely served a diplomatic or commemorative purpose, documenting the Amir’s household at the end of his reign. Its provenance traces through private collections before entering a public institution, where it now contributes to the visual record of Afghan political history and royal portraiture.

Artist & collection

Artist

Unknown

entity whose identity is not known