The ghost in the painting seems to have descended the adjacent hill. Here the gulara tree, which holds upon its bosom the tallest rock within its arms-like looking two branches, might have been the seat of the ghost. It seems the village dog was the first to take notice of ghost's emergence. It is still barking towards the likely passage the ghost might have used when descending the hill. The cautioned village population with their sticks and rods charge at the ghost and chase him away. The upheaval wakens even ladies and children and they rush to the windows of houses for having a glimpse of the ghost. Awe reigns even on the faces of buffalo and calves.
The painting has reflection of the glory of Mughal art. The texture of rocks, realistic and minute details of trees, elegantly and exquisitely cast grass-huts, surging fore-ground and waving sky, style of calligraphy, gold border, figures' facial features, pattern of moustaches and beard and their costumes, sash and turbans in particular, are typically Mughal in their rendering. Deep but subdued colours and fine line-work are its other significant features.
This description by Prof. P.C. Jain and Dr Daljeet. Prof. Jain specializes on the aesthetics of ancient Indian literature. Dr Daljeet is the chief curator of the Visual Arts Gallery at the National Museum of India, New Delhi. They have both collaborated on numerous books on Indian art and culture.