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.
The idea of Mary/Maryam and Isa/Jesus reflects an European influence not only on canvas of Persian artists but also religious sentimentalities. It is interesting to understand how art synchronise religions, sometimes towards a more secular perspective (in case of Bonobibi in West Bengal) or an orientalist domination (as found here).
