The Tiered Court Scene is one of the prominent artworks of the 18th century by eminent artist Chitarman II also known as Kalyan Das. He is known for portraits of Mughal emperors and the Mughal court, and was patronised by Muhammad Shah.
This artwork is dated to circa 1735 AD and is made on paper from ink, gum tempera and gold. Several Hindu deities can be seen in the artwork. In the upper left corner, Lord Rama is depicted along with his army and Hanuman defeating Ravana and his asuras . On the right, Sita is shown captures in a massive golden palace which is guarded by several of Ravana’s soldiers. In the middle of the artwork, several deities including Lord Ganesha, Brahma and Vishnu are depicted enjoying music. Women are depicted flying kites. In the bottom section, Lord Krishna is depicted playing Holi with several women and presumably Radha by his side. Two women are depicted applying red colour on each other.
The artwork is extremely detailed, made in at least three tiers. All the figures have a calm, serene expression. Muhammad Shah’s interest in Hinduism is reflected in this painting. The vibrant colours in the painting complement the lively scenes depicted. The artworks of Chitarman II in general show a fusion of Indian motifs such as the floral patterns seen in the borders with Persian stylistic elements.
The painting Tiered Court Scene painted by Chitaram the second captures the rigid hierarchy and grand opulence of an 18th century Mewar court. The artwork relies on a vertical multi layered composition to visually translate social status and political power.
At the apex sits the Mewar ruler who is framed by luxury. This top tier symbolises supreme authority where the king is isolated from the mundane world. Moving downward the painting unfolds in distinct horizontal registers, each representing a step down the social ladder. The middle tiers are occupied by high ranking ministers, courtiers and foreign dignitaries, depicted with meticulous detail in their vibrat attire and formal postures. At the base of the canvas, the lowest tier features attendants, guards and musicans, anchoring the courtly ecosystem.
The usage of colour separates the tiers whole maintaining a cohesive narrative. Bold pigments, intricate patterns and gold leaf accents emphasize the wealth of the court while the rhythmic placement of figures guides the viewers eye upward reinforcing the theme of absolute monarchy.
