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This painting is oil painting on canvas. This lady in this portrait is Bani Thani and has been labelled as Indian “Mona Lisa”. This is painted in the typical style of the Kishangarh school . Kishangarh itself is a small town in Rajasthan, approx. one hundred kms. from Jaipur.
The lady has an interesting story behind her:
King Sawant Singh (1748-1764), the seventh ruler of Kishangarh, was an accomplished poet and artist in his own right. It so transpired that his stepmother employed a young girl as a singer in her palace. She came to the notice of Sawant Singh who fell in love with her. Her real name is not known, but she came to be called Bani Thani, which means smart and well-dressed. She was a beautiful girl who also professed interest in Hindi poetry. She became Sawant Singh's mistress. It is conjectured that the bloom of her youth and beauty not only roused unholy thoughts in the hearts of men who saw her, but also provided inspiration to the Kishangarh artists to whom credit is given for the invention of the Kishangarh facial formula.
Bani Thani here is portrayed with an elongated face, arched eyebrows, lotus-like eyes tinged with pink, a sharp nose and a pointed chin. Obviously, it is an idealization, for no woman would have such eyes, here we notice a resemblance with the technique of the Kangra painters. It is not the beauty of a single person, but the ideal beauty which the artist paints. It is based on the ideal type given in the Sanskrit love poetry, viz. 'Padmakshi' or lotus-eyed. It represents the Rajput ideal of feminine beauty at its best. Those who delight in parallels call her the Indian Mona Lisa. Her face is delicate and refined, more like that of a courtesan. Her eyebrows are curved like a bow. Her neck is decorated with necklaces of pearls and precious stones. She has draped herself in a transparent wrap which greatly enhances her charm. Which woman of today would not envy her dreamy eyes, her shapely nose, her fastidious lips, the glamour of her clothes and ornaments, and, above all, her seductive charm?

MAHISHASURA MARDINI's basic myth is simple, as the greatest stories tend to be: Mahisha, a great demon (asura), has undertaken extraordinary austerities, and thereby accrued such vast power that even the Gods can no longer defeat him. In successive battles, they lose the three worlds to Mahisha's superior might -- and the Cosmic Order in thrown into disarray.

Clearly, a hero and savior is needed -- but who can defeat an enemy that is mightier than the Gods? Answer: The Power (Shakti) that created both the Gods and the enemy in the first place. In order to access that Power, the Gods must reverse the downward unfolding of Divine manifestation, i.e. the cosmic tattvas. (Not coincidentally, this is also the goal of any sadhana undertaken by a human devotee. To help understand the lesson offered here, think of Mahisha as the individual human ego.)

Accordingly, all the Gods simultaneously offer Their own individual powers back to their common Source. And as They do so, They behold an extraordinary sight, as the Source begins to materialize before their eyes:
She is Maha Devi, the Great Goddess, the Mother of all beings, divine and mortal. Taking the warrior form of Her avatar, Goddess Durga, She departs on Her lion mount to meet the demon. A battle of nine days and nine nights ensues, during which Devi decimates Mahisha's armies using lesser Goddesses produced from Her own body.
At last, She and Mahisha alone remain standing on the corpse-strewn battlefield. Of course, Mahisha cannot win, but he takes the forms of many powerful beasts as he tries. While he is in mid-transformation from Buffalo back to Human form, Devi finally slays him, thus saving the Universe, restoring the Cosmic Order -- and earning the title, Mahishasura Mardini.

Delhi Gate is the southern gate of many in the historic walled city of (Old) Delhi, or Shahjahanabad. The gate links the New Delhi city with the old walled city of Delhi. It stands in the middle of the road, at the end of Netaji Subhash Chandra Road (or Netaji Subhash Marg), at the edge of the Daryaganj.

The Gate was built by Emperor Shah Jahan in 1638 as part of the rubble–built high fort walls that encircled the Shahajahanabad, the seventh city of Delhi. The emperor used this gate to go to the Jama Masjid for prayer.

A part of the fort wall to the east has been demolished to build the Old Delhi Railway Station while the wall to the west exists.

The gate is now a heritage site maintained by the Archaeological Survey of India.