Akbar with falcon receiving Itimam Khan, while below a poor petitioner (self-portrait of the artist Keshavdas as an old man) is driven away by a royal guard
The Metropolitan Museum of Art(The Met) New York,USA
Keshav Das’s Akbar with Falcon Receiving Itimam Khan, while below a Poor Petitioner (Self-Portrait of the Painter Keshav Das as an Old Man), dated 1589, is a striking example of how Mughal miniature painting could move beyond simply recording courtly events. The painting presents Emperor Akbar in the upper part of the composition, holding a falcon while receiving the court official Itimam Khan. Below them, separated by a rocky landscape, appears an old, thin, and exhausted man attempting to approach the emperor. This figure is Keshav Das himself. The difference between the two worlds is particularly significant. Akbar seems calm and commanding, while the old Keshav Das is depicted in a vulnerable position, stopped from approaching the emperor by a guard. He holds a scroll addressed to Akbar bearing his own name and the date.
The rock-strewn landscape is a carefully constructed division that separates the artist’s humble situation from imperial power on two levels. But Keshav Das does not disappear into this hierarchy—he deliberately inserts himself into the story. The 'Wonder of the Age' catalog describes the scene as allegorical and states that it articulates the artist’s sense of hardship or injustice, rather than simply documenting an actual encounter. Thus, the most fascinating aspect of the painting is this tension between humility and self-assertion. Keshav Das presents himself as a poor petitioner, but by putting his own image and name into an imperial scene, he also ensures that he will be remembered. The painting, therefore, becomes not only a depiction of Akbar’s court but also a rare and remarkably personal statement about the artist himself.
When I look at this painting, what hits me first is just how physically vulnerable Keshavdas made himself look. He didn’t paint himself as a dignified, proud artist, he shows himself bare-chested, frail, skinny, and stooped over with age, looking desperate just to be heard.
Right next to him, the guard is lunging forward to push him away, while up above on the hill, Akbar is standing in fine robes holding a falcon, completely oblivious to the drama playing out right beneath him.
My main emotional takeaway is respect for his bravery. In a court system where you could easily be punished for disrespect, he didn’t hide his anger or grief. Painting his own rejection and writing the scroll in his own native Hindi script feels like a quiet act of protest. It really makes you feel for an aging worker who gave his life to the royal workshop, only to end up begging at the gates.
