Drawings enlivened by touches of color and scenes that commemorate the everyday life of the ruler are typical of Mughal painting. Both of these genres became fashionable in Rajasthan in the late seventeenth century and at Mewar, one of the most conservative of the desert courts, around 1700, during the reign of Amar Singh II. The Mewar artists also adopted, albeit with more reticence, the Mughal concern for mimesis and spatial recession.

One of the premier artists of the Maharana Amar Singh II atelier produced chiefly large-scale colored drawings. This splendid example of the anonymous master's work shows his patron with his royal wives and attendants in one of the royal courtyards of the harem amid fountains, plants, and animals. Despite the spatial recession and naturalistic detail, the maharana, who stands at the back of the painting, is still the largest figure in the composition.