The Portrait of a Royal Servant

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The painting, though a late rendering, is a fine example of Mughal portraitural art. The figure, obviously a house-hold servant deployed to load the huqqa, is so impressive that one is misled to consider him at least a baron or a courtier. It is only from his bare feet, sitting posture and the costume consisting of a short upper and as short lower reaching hardly his ankles that his servant identity is revealed. The ornaments he is wearing seem to be the essentiality of his class. He hasn't any kind of crest, a turban, or a sash on his waist. He does not have on his waist a dagger, or any kind of arm, which even a courtier carried.

Sharp nose, angular face, deep thoughtful eyes, well shaped raised neck, delicate lips, well trimmed beard, delicate long fingers, slim figure and high cheek bones aptly define his person. The huqqa made of gold and attached with an exceptionally long smoking pipe indicates that it does not belong to him. He is carefully holding its nose-piece. Lost in reveries or buried in some deep thought he is essentially in a pensive mood. The arched top of the painting has on it some fine calligraphy with as fine gold work. The artist has created wondrous contrast by using gold against deep brown and black. The margins of the painting display fine gold work. Besides various flower, vine, plant and animal motifs it has on its top center the figure of a horned demon.

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.