Shah Jahan, Jahangir's third son, emerged victorious in the power struggle that developed after Jahangir's death and assumed the Mughal throne in 1628. His thirty-year reign is dominated by an outward sense of prosperity and stability unmatched even during Akbar's rule. At the same time, almost every aspect of courtly culture became increasingly formalized. Shah Jahan was portrayed as an aloof ideal king. Official histories thus present him as a just leader and staunch upholder of orthodox Islam, but they give little insight into the emperor's personal thoughts. Yet Shah Jahan's unreserved preference for Dara Shukoh, his eldest son, an eclectic mystic thinker, suggests other aspects of this ruler's character never alluded to in court histories. The painted image of Shah Jahan parallels the literary one. The emperor is portrayed in an idealized manner – while he ages over time, his features remain flawless. His inner character is never revealed. Rather, his role as semi-divine king of the world, a play on his name, is the focus of each portrait. His face is always surrounded by a halo, as in late representations of Jahangir. In some of these illustrations the metaphoric nature of the king's semi-divine and just quality is taken so far as to show small angels above his head, often crowning him, while at his feet are the lion and the lamb of peace. Even more than light imagery, paradisical imagery now evolves from verbal to visual forms, particularly in Shah Jahan's architecture.