The painting represents one of the many facets of medieval feudal life-style which inclined more to be sensuous than being sensible, prided in perversions and their public display and marked a total deterioration of life values, disregard to public will and opinion and norms of privacy. More than in public weal the kingship sought its worth in sensual pursuits and merriment and thus led the entire society to immoral and exploitative options.
The theme of the painting harps around a prince, Mughal in appearance, outing with a number of concubines. Their casual dresses rendering the most body-parts exposed and goblets for wine in their hands indicate their intimate relations with the prince. One of the concubines, a cuter one, with her semi-removed saree, is already heading towards the hut prepared perhaps for the prince to outcamp. She seems to be the choice of the prince for that day and, hence, for enjoying each of her moments with him she wants wine to intoxicate her. She is, hence, extending the goblet in hand to her other companion to fill it. Her other companions, bathed in waters which seem to have been incensed, besides by lotuses growing there, by perfumes added to them, and with their passionate looks and invitingly exposed body parts, are endeavouring to win the prince's favour. They too are extending their goblets to be filled, but whether to better prepare themselves for the prince or for their own enjoyment is not known.
The prince is in Mughal style costume of regal character. He is wearing a crested turban, long regal jama and lavish ornaments but the concubines attending on him are in unusually simple dresses. Figures are mostly tall and slim and are endowed with sharp features and pale gold complexion. Strangely, instead a brick architecture of royal build the artist has preferred for the outcamp of the prince a thatched hut, though built using fine geometric patterns. The patch of the land looks like a small island created by a circulating river all full of lotuses. The painting is rich in perspective and has dimensional effect. The nature is mostly notional.
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.
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