Stuart Cary Welch, noting that he painted the likeness of nearly every important personage from this period, calls him "the Mughal Van Dyke".

[2] He is known for the European influences seen in his work, which include trompe-l'œil reflections and use of cast shadows, as well as the depiction of putti.

It depicts Jahangir offering a book to a bearded Sufi saint while the King of England and the Ottoman sultan, as well as Bichitr himself stand in attendance, all spurned in favor of the holy man.

However, European perspective is deliberately rejected in the design of the flat carpet, which forms the lower background of the work.

Stuart Cary Welch calls him "the Mughal Van Dyke", and says that he painted almost every important figure during this period.

[2] Milo C. Beach states that he paints with "a brilliant, but hard line", and calls his use of colors and patterns bold and assertive, producing an effect of "cold formality".