A skilled oil painter and lacquer-artist of eighteenth century Persia, Muhammed Sadiq represented the pull back to its artistic roots after years of Persia artists taking inspiration from and being influenced by European art. His own work was distinctive in its development, as he utilised warm tones; had stylised his models with narrower eyes and thicker hair; and ensured he involved some manner of fruit or flower symbolism in his work. This context makes this painting, featuring what is referred to in some circles as the Holy family, all the more interesting to consider and somewhat ironic, as this family was a highly popular art subject in 16th century European art movements.
We can safely assume the woman at the centre of this mirror case is Maryam or Mary, and the baby below is Isa, or Jesus. Maryam's eyes gaze directly at the viewer, as she is shrouded in flowers and jewellery, and a dress fit for the opulence of the Qajar dynasty's wardrobe. The trees which surround this gathering speak to Safavid influences and Sadiq's own tastes of involving the natural world in his portraiture work, whether plants or animals. The most interesting facet of this piece is its role as a mirror case, often created with lacquer techniques as an extension of the miniature paintings which made up much of the legacy of Persian art work. In this way, this piece of work can be credited as a defining part of Sadiq's own legacy, representing the traditions and crafts that he sought to maintain within royal courts and for Persian culture.
Beginning in the late Safavid period and peaking in the Zand and Qajar eras, Persian artists became obsessed with European style (Farangi-sazi). Instead of creating these for religious devotion, Persian master painters used imported European engravings as stylistic blueprints to create high-end luxury items such as mirror cases, pen boxes (qalamdans), and book covers for elite Muslim patrons. This painting blends biblical narrative with local Persian court aesthetics. While a faint European-style cherub can be seen hovering in the golden sky above, the classical Italianate landscape features local Persian flora. Even the vessels at the bottom are stylized Persian ewers rather than Roman pottery. Interestingly, to achieve this glowing, glass-like finish, the artist applied watercolour directly onto a prepared papier-mâché or wooden base, then painstakingly layered multiple coats of clear apricot-tree or sandarac resin lacquer. This not only protected the painting from humidity but also gave the warm, amber undertones an incandescent depth.
