Page 139 - Eye of the beholder

In its architectural delineation the artist has intuitively created perspective to show the lines of architectural elements as appearing visually correct, but has lost out on scale. If Krishna particularly has to stand up his heads will hit the roof. The composition with its varied elements of architecture is considerably cohesive; the representation of skyline is very high and indicated by a thick wave of white paint. The colours are predominantly reds and oranges symbolizing passion and love as well as the agony and torments of separation. These find an ideal balance in the judicious application of green in the delineation of the foliage and yellow ochres appearing in the sartorial attire of Krishna and the skirts of Sakhis including the upper part of the chajja or the eave. The use of marble in architecture with fine and delicate lines carved on it resonates to the influence of the Mughal miniatures, which must have found its way into the ateliers of Mewar after it was annexed by the Mughals in the 17th century.
The women have been delineated wearing ghagra, choli and odhini which cover their heads. Their facial features lack sophistication. In the delineation of the figures much remains to be desired. The proportions of the body are short, while the facial features with large almond shaped eyes, arched brows and well defined nose appear as pleasant but not aesthetically beautiful. The pearl jewellery encrusted with semi precious stones is delicate though not profuse. The forehead slopes down with a minute bridge at the nose. Radha seated on the white mattress has a posture where she has crossed her leg with one foot visible, which is adorned with a graceful anklet. Her jewellery is similar to those worn by her Sakhis.
What captures the imagination is the rendering of the mango tree with its cluster of leaves that is rendered naturalistically and with summer nuanced shades of fresh reddish sprouting leaves. There is also the representation of the banana plant, which together with the mango tree are metaphors of love and beauty.
A folio of Rasikapriya from early 19th century in Pahari kalam lacks the representation of the written script to indicate the textual context; and with the difference that it is contained within an oval format. The latter was a typical feature of Pahari miniatures. These features together with the essential representation of the conventions of flowers, sandalwood paste, garland, paan etc are obviously lacking in its representation in this painting, which was typical of most Rasikapriya illustrations. This could be explained by the fact that over a period of time, the convention of formatting the composition as set by Shabidin in the 16th century had lost its essential character, and only the superficial content of the composition remained as a residue later as evidenced in this particular work.
Radha is beautifully represented as is always in Pahari miniatures, with an elegant face and form as she points towards the sky and the waning moon to her sakhi. Set amidst a picturesque landscape that has the hills in the background with a mini fortress sitting on the top of one of them, with a gushing river flowing below filled with white blossoming bushes whose roots can be seen in the transparent waters. In the foreground is the representation of a marble pavilion with a bright orange shamiana under which the heroine stands. There is an empty bed inside. Situated just outside the pavilion is a pond that is filled with lotus buds in various stages of bloom.
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