An unidentified nobleman listens to a musical ensemble while smoking a water pipe. It is possible that this man was a Muslim, since his striped coat (jama) is tied under his right arm (a Hindu would tie it under his left). Most likely he was a member of one of the royal Deccani families or a local official who held a Mughal position after the Deccan sultanates were conquered by the Mughals. The nobleman’s importance is signaled by his distinct appearance, compared to the stereotyped female attendants, as well as his more prominent size. The display of his weapons, along with the hookah, spittoon, and serving bowls, symbolizes his martial prowess and cultural refinement. The hookah was presumably bidri-ware, an alloy of lead, tin, and zinc inlaid with brass floral designs; alternatively, it might have been intended to represent brassware inlaid with black lac (for example, see AC1995.52.1). At this time many women associated with the court were trained in the fine arts and often performed for the pleasure of their patrons. What is unusual about this scene, however, is the inclusion of Hindu female ascetics (yoginis) amid the foliage. Their presence beyond the terrace but within the palace walls suggests a harmony of princely and spiritual pursuits. On the verso are assorted passages of poetry, primarily verses from various ghazals (lyrical poems). (Translated by Z. A. Desai.)

• Markel, Stephen. Mughal and Early Modern Metalware from South Asia at LACMA: An Online Scholarly Catalogue. Los Angeles: Los Angeles County Museum of Art, 2020. https://archive.org/details/mughal-metalware (accessed September 7, 2021).
• Pal, Pratapaditya; Markel, Stephen; Leoshko, Janice. Pleasure Gardens of the Mind: Indian Paintings from the Jane Greenough Green Collection.  Los Angeles County Museum of Art; Mapin Publishing Pvt. Ltd.:  Los Angeles, 1993.