“Arriving in New York in January 1959, I was amazed at the availability of a vast range of painterly materials, including materials that can be used to texturise the canvas. I began to combine the ancient Egyptian surfaces and hierography with the colors and modernized forms of Indian miniature painting. I was not an archaeologist or a decipherer of hieroglyphic writing; it was the controlled textural aspect which appealed to me.”
- Mohan Samant

A major characteristic of Samant’s work was the synthesis of a multitude of references, culminating in a diverse range of imagery. He was fascinated by ancient art, especially that of Egypt, and took further inspiration from Mughal miniatures, Jain manuscript paintings, and tribal and folk symbolism. In his paintings, he fused Hindu mythology with these external influences. Samant’s relief-like impasto and deeply textured works recall the rough surfaces of rocks and caves.

"It appears that I am painting Indian miniature forms on a dilapidated Egyptian wall painting."

Anne Burton was a friend of Samant's in New York and, on occasion, worked at his studio, taking money on the door at musical recitals held there. Samant was a well-known musician and would often hold impromptu sessions at his studio. Anne recalls working on the door when Ravi Shankar played at the studio, and how the place was full of the most extraordinary people. Anne purchased this painting from Samant in 1964, at a time when Samant was in great need of funds.