A man kneeling before an ascetic accompanied by a dog

Mughal miniature painting A Man Kneeling Before an Ascetic Accompanied by a Dog (c. 1600–1610 CE) is a beautiful final work of the late-Akbari period produced by the royal master Shankar. It is today located in the Asian Art Museum of San Francisco and is created in the standard size of a folio in opaque watercolor (gouache) and gold on paper. The artwork was painted during the final period of Akbar’s reign or at the beginning of Jahangir’s reign and signifies a turning point in the history of Mughal art when it began to change the focus from action-oriented illustration to reflective art characterized by mystical interpretations of the characters depicted therein. The composition of the artwork shows the scene of two figures representing two different social classes - a man of wealth with a decorated attire and an ascetic monk. The kneeling man is positioned in the lower foreground, which symbolizes wealth and power in earthly life. His detailed robe, special hat, and humbled position on his knees indicate humility and subordination. The hermit is seen sitting directly across from the viewer in a relaxed state. Dressed in the minimum clothing of Indian holy men, which include sadhu and Sufi dervishes, his weather-beaten skin and peaceful gaze show his separation from earthly riches. The dog, which is seated with the hermit, is an important symbol in Mughal iconography. Although dogs were considered ritually unclean creatures in the traditional orthodox Islamic law, Sufi symbolism saw the dog as a symbol of loyalty, humility, and the protector. This peaceful presence also provides evidence of the hermit being in sync with nature and living creatures. The background reflects the blending of the European nature-based perspective with the Persian visual studies. These gentle sloping hills, delicate plants, and the distance foliage lend a sense of atmosphere. The shading (pardaz) used along the edges of the rocks, faces, and clothes gives the figures a sculptural three-dimensionality, which is the art of Shankar. Shankar perfectly mastered the technique of applying watercolors that are not transparent in his work, creating a wonderful piece of art that reflects his knowledge of color as well as fine brushwork. He effectively used gold paint to emphasize the most important elements of his artwork like the border details and patterns of the textile. Unlike previous battle pictures of the Akbari type, this one is more focused on the expression of personal emotions and feelings. The relationship between the seeker and the teacher symbolizes the syncretic culture that was developed by Akbar and the principle of Sulh-i Kul, which allowed different philosophies to be discussed. From the late part of the 16th to the beginning of the 17th centuries, Akbar’s royal studio was engaged in making many paintings on spiritual theme. The illustrations of the contacts between the rulers and the holy men became a very common theme of paintings, as they symbolized the humility of the emperor before God.