Standing in strict profile, Habibbulah in this painting is posing with his ensemble of a naayi (barber). The lucidity of the water colour washes and precise visualisation of Habibbulah’s likeness confirms Luker’s artistic genius.
Clad in a redangrakha and churidaar pyjama, detailed embroideries can be seen around his neck and chest. His pagdi with white and gold folds give status to the emblem in its centre. A broad kamarband finds prominence in a twisted pattern. By incorporating subtle colours, a unique blending of the contours of this form represents a contrast with the minimalistic background.
His right hand holds an ustara as an iconic constituent of his profession while the left hand holds a small case, probably occupied with other essentials. With eyes looking away from the spectator, his arched eyebrows are refined. His nose lies in conformity with high cheek bones and emphatic chin. His grey beard and long moustache in downward fall is seen atop full lips. A characteristic feature of such ethnographic paintings is the slight shading underneath his shoes or juttis. The calligraphic writing below his form and W. Luker Jnr’s signature add to the artistic appeal.
