Mahliqa, Daughter of the Emperor of China, Pointing at the Bird-Man Khwaja Mubarak: A Leaf from a Poetical Romance Relating to Shah Alam I (recto)

The work is a miniature painting that juxtaposes two distinct tableaux. On the left, a hybrid bird‑man figure rests beneath a tree in a verdant garden, while on the right a group of women in richly patterned garments gather beside an architectural column, one of them gesturing toward the creature. A walled city with domed structures forms the distant backdrop, rendered in subdued gold, green and blue tones.

Executed in the traditional Indian miniature manner, the painting employs fine brushwork and delicate line to delineate intricate textile patterns and gold embroidery. The palette is restrained, favoring muted metallics and earth tones that create a luminous yet understated surface. Spatial depth is suggested through layered foliage and architectural elements rather than linear perspective.

Miniature paintings of this period often served to visualize literary texts, merging visual and poetic storytelling. The depiction of a Chinese imperial daughter reflects the Mughal court's fascination with foreign dignitaries and the broader diplomatic networks of the early 18th century.