The present painting is a delightful depiction of a nobleman and a courtesan facing each other on a terrace. Both are identified in the painting’s upper border as Mujahid Jang and Murassa Bai. In his commentary of the work, Zebrowski (1983) praises the dramatic Deccani approach to Mughal precision. The painting abounds with minute details, both in the landscape and the figures, and combines symmetry with bold colours to achieve a surrealistic, almost abstract visual effect (cat. no.28 p.235). Zebrowski attributes the work to a Jaipur painter working in Hyderabad, responsible for three other paintings in the City Palace Museum, Jaipur (inv. no.A.G.656; ibid., cat. no.209); the Fondation Custodia, Paris, and the Bharat Kala Bhavan, Benares (ibid., p.237). The main figure in the Jaipur Museum’s painting is identified as Allah-wirdi Khan, probably a Mughal officer who served under Aurangzeb during the Deccani campaigns, while the painting in the Benares museum bears an inscription mentioning Hyderabad as its place of origin. Therefore, it can be assumed that Mujahid Jang was a Mughal nobleman stationed in the Deccan, where he was immortalised by the Jaipur artist.