.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
Lot Essay
This refined and intimate painting depicts a richly adorned lady seated on a low marble terrace, surrounded by the delicate luxuries of a Mughal courtly life. Attributed to Chitarman II, also known as Kalyan Das, this work exemplifies the artistic style that flourished at the Mughal court during the early 18th century, particularly under the patronage of Emperor Muhammad Shah (r.1719-1748). The artist presents a confident, poised figure reclining gracefully against a large decorative bolster, her translucent blouse loosely draped to expose her breasts, a common motif in portraits of high-ranking courtesans or noblewomen, intended to convey both sensuality and refinement.
Set against a clean, solid white architectural wall, the woman’s upper body is framed by a green field sprinkled with delicate floral blooms, providing contrast and visual depth. The lower half of the composition offers a closer view of her hands and feet, as well as the luxurious objects carefully arranged around her. To her side rests a white enamel surahi, a traditional wine flask prized for its elegance, alongside a blue and white ceramic wine cup that hints at imported Chinese or Deccani ware, reflecting the refined tastes of the Mughal elite. A blue-glass spittoon, another sign of aristocratic domestic culture, is placed nearby. At her feet sits a shallow tray bearing split pomegranates and mangoes, suggestive of fertility and abundance, as well as betel leaves (paan), which were often served after meals and associated with intimacy, pleasure, and courtly decorum.
The presence of these objects, along with the lady’s manicured fingernails, possibly painted, indicate not only luxury but also a deliberate emphasis on cultivated beauty and leisure. The richly ornamented textile carpet and intricately patterned bolster, adorned with baroque scrolling floral motifs, echo the broader visual language of late Mughal decorative art and further frame the sitter within a context of elegance and ease.
The striking scale of the figure in relation to the background, combined with her robust physique, suggests that this is not a generic type but likely a portrait of a specific individual, possibly a courtesan of status. Her features, large almond-shaped eyes, well-defined lower eyelids, thick, arched eyebrows, and the naturalistic modeling of the nose and mouth, show a high degree of observation and individualization, consistent with other female portraits from this period. A comparable example signed by Kalyan Das can be found in the British Library (formerly India Office Library) and is published in Falk and Archer 1981, p.427, no.199, where a similarly posed and styled lady is depicted with comparable facial features and bodily proportions.
The compositional sophistication also speaks to Kalyan Das’s training and legacy. The use of the white terrace wall to divide the pictorial space and guide the viewer’s eye reflects a keen understanding of spatial composition. The juxtaposition of textures, marble, cloth, enamel, and fruit, demonstrates his remarkable ability to capture materiality with delicate brushwork and subtle shading. His treatment of textiles is especially noteworthy, with the folds of the woman’s diaphanous blouse and the pleats of her lower garment rendered in fine, fluid lines that convey both weight and movement.
This painting is an outstanding example of late Mughal portraiture, where the focus shifted from grand court scenes to more private, psychologically nuanced depictions of women in domestic settings. The composition, marked by its sensual elegance, refined detailing, and emotional immediacy, speaks to the painterly skill and visual language of Chitarman II (Kalyan Das). Active during a transitional moment in Mughal art, his work bridges the grandeur of the 17th century atelier with the increasingly personal and romanticized aesthetic of the 18th century.
This portrait not only exemplifies the sophisticated tastes of the Muhammad Shah court but also provides rare insight into the lives, appearances, and social presence of elite women within the Mughal world. It stands as a compelling testament to the enduring appeal of Mughal miniature painting at its most intimate and refined.
Set against a clean, solid white architectural wall, the woman’s upper body is framed by a green field sprinkled with delicate floral blooms, providing contrast and visual depth. The lower half of the composition offers a closer view of her hands and feet, as well as the luxurious objects carefully arranged around her. To her side rests a white enamel surahi, a traditional wine flask prized for its elegance, alongside a blue and white ceramic wine cup that hints at imported Chinese or Deccani ware, reflecting the refined tastes of the Mughal elite. A blue-glass spittoon, another sign of aristocratic domestic culture, is placed nearby. At her feet sits a shallow tray bearing split pomegranates and mangoes, suggestive of fertility and abundance, as well as betel leaves (paan), which were often served after meals and associated with intimacy, pleasure, and courtly decorum.
The presence of these objects, along with the lady’s manicured fingernails, possibly painted, indicate not only luxury but also a deliberate emphasis on cultivated beauty and leisure. The richly ornamented textile carpet and intricately patterned bolster, adorned with baroque scrolling floral motifs, echo the broader visual language of late Mughal decorative art and further frame the sitter within a context of elegance and ease.
The striking scale of the figure in relation to the background, combined with her robust physique, suggests that this is not a generic type but likely a portrait of a specific individual, possibly a courtesan of status. Her features, large almond-shaped eyes, well-defined lower eyelids, thick, arched eyebrows, and the naturalistic modeling of the nose and mouth, show a high degree of observation and individualization, consistent with other female portraits from this period. A comparable example signed by Kalyan Das can be found in the British Library (formerly India Office Library) and is published in Falk and Archer 1981, p.427, no.199, where a similarly posed and styled lady is depicted with comparable facial features and bodily proportions.
The compositional sophistication also speaks to Kalyan Das’s training and legacy. The use of the white terrace wall to divide the pictorial space and guide the viewer’s eye reflects a keen understanding of spatial composition. The juxtaposition of textures, marble, cloth, enamel, and fruit, demonstrates his remarkable ability to capture materiality with delicate brushwork and subtle shading. His treatment of textiles is especially noteworthy, with the folds of the woman’s diaphanous blouse and the pleats of her lower garment rendered in fine, fluid lines that convey both weight and movement.
This painting is an outstanding example of late Mughal portraiture, where the focus shifted from grand court scenes to more private, psychologically nuanced depictions of women in domestic settings. The composition, marked by its sensual elegance, refined detailing, and emotional immediacy, speaks to the painterly skill and visual language of Chitarman II (Kalyan Das). Active during a transitional moment in Mughal art, his work bridges the grandeur of the 17th century atelier with the increasingly personal and romanticized aesthetic of the 18th century.
This portrait not only exemplifies the sophisticated tastes of the Muhammad Shah court but also provides rare insight into the lives, appearances, and social presence of elite women within the Mughal world. It stands as a compelling testament to the enduring appeal of Mughal miniature painting at its most intimate and refined.