From the straight and central posing of the figure to the printed textiles adorning him, this miniature represents much of what Shaykh 'Abbasi specialised in and many facets of what could be expected from the later Safavid period. 'Abbasi himself was considered an important figure in the eighteenth century, alongside his son 'Ali Naqi who had followed his father's style and preferences. During the time period of this painting, Persian wardrobes had shifted toward the sharper, more shapely silhouettes of European fashions, where men often wore fitted outer robes with much decorative adornment, illustrated by the figure's dagger, sash, and headwear. Abbasi also demonstrates his own style, as it was considered a notable combination of European influences, such as shading, with Indian motifs and themes, not to mention the clear Safavid-era Persian influences upon the figure's facial stylisation. Interestingly, the reduced colour of the background itself was something of a deviation Riza 'Abbasi's own school of art as their colour palettes skewed toward vibrancy and contrast. Here, Shaykh 'Abbasi used very little colour, and much of it lower in saturation and contrast by comparison, barring the trees in the background which actually come from a Western prints instead of the traditional symbolic motifs or town landscape. ### Referenc

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