Page 168 - Eye of the beholder

Symmetrically composed, with the couple seated in the centre and immediately behind them in the distance is the white wall of the palace enclosure the reentrant projection of which is in line with the figures in the foreground with a swan in the centre providing a path of the visual link with the background. This perfect symmetry of the compositional layout is symbolic of the stable energies of love manifesd in the youthful couple providing them with an aura of contemplative serenity lost to the world.
In a horizontally formatted composition the bands of colours as they appear are equally interesting. The broad white in the foreground to lush green in the middle ground, the bluish grey of the waters enclosed by a narrow band of the palace enclosure wall and an equally narrow band of green thick forest beyond the palace. The cool colours have been given a warm touch with the red of the parapet of the open terrace and the red bands in the kiosks placed at the reentrant angles of the walls. The orange rim of the halo provides a dramatic contrast to the fresh green of the plantations.
“Lady at her Toilet” is a beautiful work from the Bundi Kalam or style. It has the representation of the nayika seated on a beautifully decorated stool, which has decoration that is either painted or inlay work. She has just finished her bath and is admiring her freshness in the mirror upheld by her attendant seated behind her on the floor. The one in front and also seated on the floor is wiping her feet. The other two attendants behind her are holding trays that contain various perfumes, with which she will make her body fragrant. At the side of the nayika are represented a bowl, a flask and a narrow tall cup with a base stand. The composition is set within an open courtyard as doors can be seen opening to the interior f the palatial house. The floor of this open courtyard has an intricate designed geometric marble inlay work with a fountain in the foreground in which the ducks are represented. The two sides adjacent to the fountain are filled with lotus flowers and leaves. The palatial house is constructed out of marble with decorative niches designed with a pointed arch. Coloured inlay work in marble is seen in elaborate brackets above the capitals of the pillar. A densely printed cloth eave or chajja provides shade and is held up by a bamboo stick, placed at an angle on the adjacent wall. The space between the two pavilions is closed by a brick wall that is painted in an unusual colour of purple. The doorway on the right has an orange screen that is lifted up.
The nayika in the centre of the composition is delineated in pristine white with her upper body bereft of any clothing and she holds up her wet hair in her two hands as she admires herself in the mirror. The rest of the attendants are represented wearing ghagra, choli and diaphanous odhini. The colour combination of their sartorial attire requires close attention. While the one seated on the floor and holding the mirror wears a dull purple ghagra, the one standing behind her has striking contras of black and orange combination. The two attendants carrying the perfumeries in tray have the combination of blue and orange with yellow choli and green and orange with brown choli.
Interestingly the colours in this painting are as fresh as they are poetic and charming. The colours of the seasons in Bundi as witnessed by the artist finds its reflection here. For certain colours as purples and greys are the normal conventions of Bundi palette but strikingly engaged with in a judicious manner. Perhaps the work belonging to the early 19th century may reflect this enhanced palette with strong influence of Mughal manifesting.
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