The woman attracts attention to her long hair, which may still be wet from recent washing; she also wears high-platform sandals such as those used in baths. Her face, depicted in profile, has portrait features, while her body appears schematic under a transparent gown. We can only guess where this fragile poetic painting was done. The artist may have been active in a Mughal court studio, as suggested by the finely drawn face and rendering of the woman’s garment highlighting its fine, high-quality material. However, the painting was more likely done at the Bijapur court of the art lover Mohammed Adil Shah (reigned 1627–1656). He was connected with the court of Mughal Emperor Shah Jahan through kinship and extensive cultural contacts.