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Over the last forty years, a small group of scholars of Indian art has been closely analyzing signatures and inscriptions on miniatures, as well as other sources such as palace archives and land registers.

This great blossoming took place soon after the puritanical Mughal emperor Aurangzeb had withdrawn his patronage from the great Mughal atelier in Delhi toward the end of his reign, on the grounds that depicting the human form was forbidden in Islamic law.

Nainsukh remains today the only Indian miniature painter to be the subject of a full-length study.

The reconstruction of his life, and those of other Indian masters, has taken place surprisingly recently.

There are occasional images of quiet evenings where the raja, wrapped in a shawl, sits in front of a blazing fire with a glass of some warming beverage.

We also see the painter standing, bowed in reverence behind his enthroned patron, as the connoisseur-prince carefully examines a new devotional painting; the court musicians and attendants look on to gauge his reaction.

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