This painting is a joint effort by two Mughal court artists, Mukund and Madhu is dated to the reign of Emperor Akbar or the early years of Jahangir (late sixteenth to early seventeenth century). This was originally a part of an imperial Mughal manuscript and was later added to the Farhang-i Jahangiri (1608) commissioned by ruler Jahangir. Madhu was known for his skills in portraits and Mukund was known for depiction of elements such as the landscape, attendants, and the elephant. This scene is considered to depict Babur or Qabal Khan (ancestor of Genghis Khan) near the Hathi Pol (Elephant gate) of the Gwalior Fort. The painting is framed within a gold floral border which shows attendants holding offerings. In the centre, the painting depicts a bustling scene and a fortified palace which is considered to be the Gwalior Fort. A nobleman dressed in orange within the palace courtyard is shown distributing gifts to people others while courtiers and attendants around him are engaged in conversation. Outside the palace walls, an elephant is stood on a raised stone platform. Soldiers, guards, servants, and horsemen are shown in the lower part of the painting. The fortress is depicted with massive red sandstone walls, bastions, gateways, and layered terraces. This shows both the defensive and aesthetic character of Mughal architecture. The bright hues and gold detailing are characteristic of Mughal artworks. The artwork depicts the characteristics of Mughal artworks in which Persian techniques were incorporated and influenced by indigenous artistic conventions. The elephant in brown occupies a central role against the bright hues of the courtiers and the fortress. It is also symbolic and represents imperial authority, military strength, and royal prestige. The detailed depiction of Gwalior Fort is also remarkable and conveys its importance for the Mughals. If the painting indeed represents Babur or Qabal Khan, it contributes to Akbar's effort to legitimize Mughal sovereignty by connecting his dynasty with both the Timurid and Mongol lineages. Therefore, the painting also functions as a tool for political legitimisation.
The scene with a large elephant being led to the gates of the Mughal palace looks like a solemn, but at the same time “live” procession. The elephant itself occupies almost the entire central part: its massiveness is emphasized by the calm confidence of its movement, and the turn and position of its body creates the feeling of a heavy, measured step. Next to him are people who direct the procession, so that the order and ceremonial nature of what is happening is clearly visible.
The characters Mukunda and Madhts are perceived as participants or accompanying this demonstration: their figures and gestures usually help to understand the direction of movement and the general mood of the episode. A courtly atmosphere is felt in the tones and lines - the palace gates were probably designed in such a way as to emphasize the status of the event: the entrance not just into an architectural space, but into the world of power, reception and spectacle.
The composition is structured in such a way that the eye follows the movement of the elephant towards the gate, as if the viewer is witnessing the moment when the animal and people “enter” the center of the royal ceremony.
