In A.D. 1698-1710, Mewar paintings seem to have undergone a transformation. Three-dimensional perspective, the Mughal draughtsmanship, and portraiture comes into vogue. Even when painting portrait, a Mughal inspired subject, the Rajput artist showed no sustained interest in the visual specificity or individual psychological comprehension, that was so distinctive a Mughal contribution to Indian art.

In this painting there is a marked penchant for modeling. The royal figure is dressed in a knee length tunic with a narrow ornamental belt. The 'band gala' dress has wide sleeves. He wears a loose pyjama confirming to the hot weather of Rajasthan, a desert region. He wears a sash running from the right shoulder down to the left side of his waist. He adorns a long cloak which required a couple of attendants to hold while he walked. It is decorated with embroidery, golden lace and metal ornaments. The clock is held at the shoulders by a long necklace. Various broaches are pinned on the chest connected with thick chains. The twin layered cloak is pink on the inside and deep green on the outside. The shoes are embroidered, pointed ones. The turban is tied in a royal manner, with a sash in front, a 'sarpech' and a plume at the pinnacle.

On this stamp paper, decorated on all sides with fancy triangles, it is an accurate representation not only of the individual but conveys much about his temperament and his social status.

This description by Kiranjyot

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Paintings on Stamp Paper:

Taj Mahal

The Nobleman

The Courtesan

The Rajput

Procession of Victory

Leopard