The throne that cost twice as much as the Taj Mahal

History · Published 20 October 2026 · Updated 22 October 2026 Swipe more like this →

In short: In the 17th century, the Mughal Emperor Shah Jahan commissioned a seat of power so opulent it was considered a mirror of paradise on earth. This wasn't just a chair; it was a masterpiece of gold and jewels designed to make the ruler appear as if he were floating toward heaven.

Representing a peak of Mughal craftsmanship, the Peacock Throne (Takht-i Tāvūs) was ordered by Shah Jahan during the 17th century's first half. It took seven years to complete and was constructed by the master goldsmith Said Gilani. Construction of the Taj Mahal reportedly required only half the funds needed to create such a lavish seat. It was designed to be a 'Throne of Solomon,' featuring a canopy supported by twelve emerald columns, with two peacock figures displaying their tails, and steps leading up to the ruler to symbolize his proximity to the divine.

The throne's aesthetic was a radical departure from the previous reign. While Jahangir's throne was a simple rectangular slab of engraved black basalt, Shah Jahan's was a dazzling display of solid gold, pearls, and precious stones. It was adorned with rubies, garnets, and emeralds, including a specific ruby worth one lakh of rupees that had been a gift from the king of Iran. The throne was initially known as the 'Jeweled Throne' before historians later named it for its peacock motifs.

The throne's history is marked by dramatic loss and cultural appropriation. In 1739, the Persian conqueror Nader Shah seized it as a war trophy during his invasion of India. It was later lost during a conflict with the Kurds, where it was likely dismantled for its valuables. While the original disappeared, its legacy persisted; it became a symbol of the Persian monarchy and was reproduced for subsequent shahs. Today, only fragments remain, including a marble pedestal leg in London and another in New York, whose true origins remain unconfirmed.

The throne also served as a canvas for imperial propaganda. The emperor's favorite poet, Muhammad Qudsi, inscribed twenty verses in emerald and green enamel on the throne, praising its 'heaven-depleting grandeur.' Additionally, the master goldsmith Gilani produced a poem of 134 couplets containing chronograms that recorded the dates of the emperor's birth, his first coronation, and the throne's inauguration on March 22, 1635.

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