The Fakir

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This magnificent and somewhat queer portrait blends in its conception elements of Sufi, Hindu and the ancient cult of Royal Saints. His extra white beard, the long robe, the book of scriptures calligraphed in Arabic and the bell decorated with motifs likened to mosque domes, all these are attributes seen in medieval portraits of Sufi saints. The deep orange of his robe, instead of a Sufi's black, are however more akin to a Hindu saint. The lotus motifs on his bell, the shell on the ground near him, and the sandalwood and vermilion tilaka on his forehead speak of his Hindu identity.

The glow on his face, his bright eyes and fair complexion speak of his high birth. In a thoughtful profile, he holds a pen in his hands, as if in the process of composing a verse.

Akbar's liberal religious outlook and the all-assimilating broad vision of Sufis in Islam and the Bhakti movement in Hinduism, led warring religious elements to reconcile. Hence it is not only in poetry or painting that the two sets of elements combined, but in actual life too the Hindus and Sufi saints liberally and mutually shared each other's styles. In numerous portraits, from 17th to mid-19th century, that is, before the Company art elements began dominating India's art scene, the amalgamation of these elements is a usual phenomenon.

Description by Dr. Daljeet.

Dr. Daljeet is Curator, National Mueseum of india, New Delhi.