HYDERABAD, DECCAN, INDIA, CIRCA 1750

Each of the nine gold roundels depicts a figure with a pet parrot or lapdog. Lavishly illuminated in gold, the red thread tying the pet birds to their owners are the only addition of colour to the portraits. Parrots feature frequently throughout Indian literature and indeed many fables were translated as in the well-known Tuti-nama. The literal tie between bird and figure is perhaps an allusion to the important place that the parrot holds in Indian lore. The inscription above the roundels reads ‘tasawir-i kuknariyan-i rajput(?)’ which can be translated as ‘Representations of poppy-headed Rajputs(?)’. 'Poppy-headed' can be translated with two meanings here, either referring to the oversized heads of the figures in the roundels or as an allusion to those addicted to opium. Huqqas can be seen in almost all of the portraits which, when combined with the kuknari allusion, could suggest that the figures are partaking in smoking opium.

The roundels themselves are reminiscent of hand painted ganjifa cards. These cards were often designed circular roundels with small figures or animals painted in gold and monochrome. Indeed, the floral designs and the focus on just one or two figures are similar to those sold in these Rooms, 24 April 2015.

To the reverse, the panel of shikasteh is also known as 'broken script' and infamous for the difficulty in deciphering it. Normally, used as a fast and efficient way to write, this example is unusual for its bold, broad strokes and gold illumination.