In this painting, we see a figure representative of the goddess Lakshmi. On the left side of the composition, Lakshmi has transformed into a watery shadow. As is typical, Lakshmi is shown wearing a red sari, symbolic of creative energy. The owl at her feet can be interpreted as a symbol of mental clarity and perspective, evocative of both ignorance and wisdom, as owls see effectively in the darkness, but lack clear vision in the light. Lakshmi’s foot is resting on an open lotus, suggesting an ethereal connection with material existence. The vessel in her hands holds the water of prosperity and wealth, and the grains can be read as a symbol of sustenance. The doubt referenced in the title of the piece could come from the patterned backdrop atop which Lakshmi is set, which was taken from The Grammar of Ornament, a 19th century book by British architect Owen Jones. The book, which made Jones famous and quite wealthy, appropriated longstanding design principles from Asian, African, Islamic, and Southern European cultures in the name of creating a distinctly “modern” and “British” aesthetic.