Page 144 - Eye of the beholder

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are dressed in yellow and green, wear simple yet delicate jewellery and the one in yellow is carrying a garment that is in combination of grey and red, resonating to the attire of the attendant on the right. There is another sakhi seated in front of the main protagonist, apparently with a bowl of sandalwood paste to cool her biting anger, but she is restrained angrily not to make such an attempt, since her emotional condition will make her burn more rather than sooth. This sakhi is similarly dressed like Radha, her features echoing hers as well as the fine and precisely designed jewellery and the sartorial attire, which has a large oval shape fashioned in front making her gown provocative. Her hands are also hennaed and her right hand is raised, conveying to Radha to be still and not show so much anger and restlessness. Behind the seated sakhi can be seen another attendant who is carrying a lamp and bringing towards Radha. Her sartorial attire is extremely simple as she wears ghagra and odhini in a combination of grey and red. The entire action is taking place on an open terrace behind which can be seen a marble pavilion with a chajja and a parapet. A rolled up curtain in blue similar to the bolster is evident. Behind it is the grey walls of the room, which are delicately outlined with decorative niches and a rolled up curtain in red print with a yellow is at the entrance to this chamber.
These are the main characters in the interplay of separation of love represented in the middle and foreground, while the background has other activities. Beyond the open terrace in the background is an opening through which an attendant is entering, with two others busy with their daily chores. A high wall surrounds this part of the palace and beyond that can be seen another structure, which is one storied and with an open pavilion on top, within which can be seen, two women one wearing a red outfit and getting the reclining low bed ready with red bedspread with the help of an elderly woman draped in white.
The artist has taken delight in representing complexity of architectural structures as well as the details. The perspective is equally challenging with different views representing upper stories, pavilion with corridor and doorway leading to the interior. While the chajjas and parapets predominate and emphasize the horizontal elements in the composition, two vertical towers one ending with a round dome and the other with a pyramidal roof, provide the balance of horizontals and verticals in creating a unified and a harmonious composition.
The painting is alive with action, postures and gestures, making it equally dramatic. Compositionally the main protagonist is the elegant flowing line that contours the lovely female forms and architectural elements, which in its poetic grace remains unrivalled in Indian miniature tradition. The numerous colours are equally subdued, subtle and nuanced enhancing the lyricism of the whole. Despite the affiliation and juxtaposition of many colours, the colour red dominates the whole painting, symbolically also manifesting the significance of love in separation.
The dark blue border picked out with yellow ochre floral motif is surrounded by a wider pink one, which contains painting of four cartouches on each of its sides. It contains the representation of two ducks, the bird forms of which are precisely outlined; and also shown in motion as one is walking, the red webbed feet represented with clarity. Interestingly the cartouche on top of the painting has the representation of two birds mating that significantly carries the metaphor of the condition of the restless Radha and her desire for the union with her beloved.