The paintings on the tombs of the Husnanis and Mirzanis are significant for their perfect technique and subjects in an endless variety of geometric, floral and vegetal designs and human and animal figures spread over the interior surfaces. The surface has been divided into various panels of different shapes and dimensions according to the space available and all the soffits, niches; squinches, arches and interiors of the tombs are covered by these paintings. The basic elements of decoration are varied. Some of the patterns are essentially naturalistic like the trees, which seem to have been inspired by close observation of the local surroundings and some of the fruit trees are especially well done.
In comparison to the Mirzani tombs, the Husnani tombs bear figural representations, while the former contain only floral designs. The surface decoration on the tombs of the Husnanis is exquisitely done as it is excelled on the Mirzani tombs. On one of the panels on the Husnani tombs is a depiction of cock fighting a still popular game in the area. Below it, is a combat scene between a man and a “Gorpat” [a wild beast] which is commonly found in the adjoining mountains of Khirthar. Even more interesting is a separate panel, done in a different, more formal style. It depicts a group of figures, who appear to be engaged. Two people are sitting on a cot, behind whom is a man playing the “Surando”, a very popular musical instrument in Sindh.
Of all the figural works, however, the most interesting are probably those depicting dancing girls with a man in the middle holding their hands. Women are shown in pairs with embroidered shawls on their heads. The costumes thus show a mixture of Sindhi and Balochi elements. Above it, is a pair of peacocks holding snakes in their mouths, a depiction that is commonly found on several tombs scattered throughout Sindh.
The great perfection and elaboration, we see at both the Dau-ja-Quba and RanEun indeed suggests that the work can only have been done with the aid of fully trained craftsmen, drawn from the richest and most accomplished workshops
The mural paintings of Husnani tombs un-mistakably belong to the Rajput School of paintings. The influence of the paintings of the Rajput school can be seen on the tombs of Mian Nasir Mohammad in Johi, Dadu. Since the tombs of Mian Nasir Mohammad are older than the tombs in Gebi Dero, the inspiration may have come from Johi where artisans of the Rajput school had already worked. We intend to say that the local artisans prevalent in the area may have got formal training from the artisans of the Rajput school in paintings and they later developed their own school of art termed as the Sindhi school of paintings. Subsequently, this intermingling diffused to the adjoining and far-flung areas.