Purchase a reproduction of Emperor Farrukhsiyar Bestows a Jewel on a Nobleman

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About the Artist About the Artist Chitarman II (Kalyan Das)Active at the court of Emperor Muhammad Shah in Delhi, ca. 1700–ca. 1745 Kalyan Das, more popularly known as Chitarman II, was born around 1680 at a time when court atelier structures had largely collapsed, following Emperor Aurangzeb’s disavowing of the visual arts. The first two decades of his career can be viewed as a formative period; Chitarman II’s apogee came after that time, when he became the most important court painter of his age under a new patron, Emperor Muhammad Shah (r. 1719–48). The intimate subjects he produced, for example the emperor engaged in sex, make it clear that the artist’s agenda was dictated by the patron. At the court in Delhi, Chitarman II became a specialist in portraits and figure painting. More formulaic genres such as audience scenes became less prevalent; instead, the patron Muhammad Shah had himself depicted as a hedonistic prince, seen seated on a litter and admiring his garden at sunset. Chitarman II’s art documents the emergence of a new era, one that clearly departs from the naturalistic Mughal paintings of the sixteenth and seventeenth centuries, with their vogue for perspectival devices. His works appear somewhat cool at first glance; his colors — predominantly muted whites and grays — tend to have little gradation, rendering his pictures flat and geometric. The figures and architecture are arranged somewhat mechanically, as if with the use of a grid. Chitarman II purveyed a style that, to some extent, was atypical for Mughal-painting; his bold and flat application of color does, however, link to an aesthetic that is similar to contemporary paintings by Meju from the Pahari region.

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Artist Biography

The Resurgence of Mughal Splendor

In the turbulent landscape of eighteenth-century India, as the once-mighty Mughal Empire navigated the shadows of Aurangzeb’s austere reign, a new light began to flicker within the imperial courts of Delhi. Chitarman II, known to history by the name Kalyan Das, emerged from this period of transition not merely as a painter, but as the definitive visual chronicler of a changing era. Born around 1680, his early years were marked by the fragmentation of traditional court ateliers, yet he rose to become the preeminent artist under the hedonistic and culturally vibrant patronage of Emperor Muhammad Shah. His life’s work represents a profound departure from the naturalistic traditions of the sixteenth and seventeenth centuries, signaling a shift toward a more stylized, intimate, and decorative aesthetic that would define the late Mughal period.

A Symphony of Light and Geometry

The brilliance of Chitarman II lies in his revolutionary command over the medium of watercolor. While his predecessors often relied on the opaque weight of tempera, Chitarman embraced the ethereal transparency of watercolor to achieve a luminosity previously unseen in Indian portraiture. His technique allowed for delicate washes of color that captured the subtle nuances of light, creating a sense of atmosphere that felt both fresh and otherworldly. Yet, this softness was balanced by a striking structural rigor. His compositions often favored:

Symmetrical Order: A preference for balanced, almost mechanical arrangements of figures and architecture.
Geometric Precision: The use of flat planes and architectural elements rendered in muted whites and grays to create a sense of structured space.
Stylistic Fusion: A masterful blending of traditional Indian floral motifs with the refined, elegant lines of Persian aesthetics.

This unique approach moved away from the complex perspectival devices of earlier masters, opting instead for a cool and somewhat flattened aesthetic that emphasized pattern and decorative grace over three-dimensional illusion.

Capturing the Intimate Pulse of the Court

Beyond his technical prowess, Chitarman II’s true legacy is found in the intimate subjects he dared to depict. Under the direct influence of Emperor Muhammad Shah, the artist moved away from the formal, large-scale audience scenes that characterized earlier Mughal art. Instead, he turned his gaze toward the private, often decadent moments of courtly life. His canvases breathe with the lived experience of the imperial circle, capturing: The quiet dignity of courtiers gathered around a water pipe,
The lush, sensory delights of royal entertainment involving musicians and dancers,
And even the more private, hedonistic reflections of a prince at leisure.

Through these works, Chitarman II did more than just paint portraits; he documented the very soul of an empire in its twilight, creating a visual record of a period where art, pleasure, and power were inextricably entwined. His ability to blend the mechanical with the emotive ensures his place as a cornerstone of Indian art history.

chitarman ii

1680 - 1745 , India

Quick Facts

Artistic Movement Or Style: Mughal School
Artists Or Movements Influenced By This Artist: ['Meju']
Date Of Birth: New Delhi, India (1680)
Date Of Death: 1745
Full Name: chitarman ii (Kalyan Das)
Nationality: Indian
Notable Artworks:
- Emperor Farrukhsiyar Bestows a Jewel on a Nobleman
- Emperor Muhammad Shah with Four Courtiers, Smoking a Huqqah
Place Of Birth: New Delhi

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Emperor Farrukhsiyar Bestows a Jewel on a Nobleman

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