The above given artwork is a watercolour painting made on paper. The painting, as per the source, is said to have belonged to a painter named Mirza Aqa as per the inscribed texts on the painting. As Mirza Aqa was a common epithet used by artists during the Qajar era, it is still to be made obvious that 'who' was the 'Mirza Aqa' who painted this portrait. This also because there had been many junior artists who worked in the Qajar royal atelier and workshops that existed during the Qajar era who were not allowed to put their names on any of the artworks they created unless permitted. One more factor that has contributed to this anonimity is the humility of the Iranian artists compared to the European masters, many of whom have just signed their name as 'the humblest servant'.
Coming back to this painting, several questions arise. Based on the realistic portrayal of the person and the way colour has been used to render life to the surroundings, the painting might seem to have belonged to Mirza Aqa 'Emami'. However, Emami was born much later in 1880s, while this work belongs to the early 1860s. Another possible candidate who could have been seen as the creator if this artwork is Mirza Hasan Bin Aqa Sayyed Mirza, who's alias was also Mirza Aqa and who was active during this period. However, Mirza Hasan Bin Aqa Sayyed Mirza was known mainly for his stylized paintings made in the traditional Qajar manner and mainly worked on themes from religion, culture and mythology. Maybe that is why he was chosen by Sani ol Molk for contributing to the making of 'Hezār O Yak Šab'- the Qajar era Farsi version of 'One Thousand and One Nights ', created during 1863-64. However, the European naturalism which is evident in this portrait and its secular theme do not seem to make it appear a work of Mirza Hasan. Moreover, as mentioned before, Mirza Hasan was involved in the monument project of this Qajar recreation of the 'One Thousand and One Nights ' story collection which was commissioned by the Qajar court itself, it would have been difficult for him to get time to create this masterpiece portrait given above.
Looking at the portrait, one sees a scholarly figure, dressed in white coloured Iranian turban and a flowing brown cloak. His beard and moustache seem reddish-brown, died with Hena He is seated in a light setting, the background painted in beige. In his right hand, he is holding the pipe of his hookah while on the left, beside him lies a small desk. On the desk are a pair spectacles, a pen box and flower vase with white flowers. The overall atmosphere exudes an intellectual and leisurely setting set in the Qajar era. The Persian/Farsi inscription on the painting reads- "To the scribe Mirza Aqa, may God grant him a long life".
This portrait conveys the dignity, wisdom, and quiet strength of a learned individual. The scholar's composed expression and thoughtful posture suggest a life devoted to knowledge, reflection, and intellectual pursuits. The detailed clothing and refined artistic style symbolize respect for education and cultural values. Although the identity of the scholar is unknown, the painting represents all individuals who contribute to society through learning rather than power or wealth. To me, the artwork highlights the timeless importance of wisdom, humility, and inner character. It reminds viewers that true greatness lies in knowledge, discipline, and a lifelong commitment to understanding the world.
