Page 184 - Eye of the beholder

stands with his hands folded while for the other two the artist could not decide on their positions and has left the hands unfinished as indicated by the over painting.
In front of the standing courtiers are the representations of three women, who sit with their legs folded and parallel to each other with their hand not fully clasped. The design of their garment is similar to those worn by the courtiers, with a difference that their kamar bandh is gold in colour and the cluster of pleats flowing down from the neck have gold ornamental edging. Their heads are adorned with turbans that are stylishly fashioned partially revealing their bunched up hair at the back and delicately lined with two strands of pearls. An elegant curl adorns the side of their faces enhancing their beauty. They also wear limited jewellery comprising of the baali’s in their ears that are strung with rubies and pearls. On their wrist are gold kadas that is ubiquitous to all the members present.
The floor is coloured yellow and has elaborate ornamental patterning that comprises of scrolls, leaves and flowers, rendered in light brown and maroon. This is surrounded by a floral border which has the delineation of large maroon flowers, connected to each by a creeper that has leaves in green.
The middle ground of the painting comprises of a thick forest which has the representation of two species of trees. The ornamental forest has a regimented appearance, with each species defined by the shape of its leaves that is shown as a pattern, and each tree defined by a thick black outline. Behind this thicket are the pointed cypress trees represented as a pair in a rhythmic manner, beyond which is the sky, with dark blue grey cumulus clouds.
The execution of the painting shows lack of craftsmanship and skills of drawing as the hands particularly have been left ambiguous. The entire work apparently seems unfinished evidenced from the sartorial attire of the courtiers, the women and the attendants that have been merely outlined without detailing of any kind. The painting apparently belonging to the 19th century, though no dates or provenance is mentioned, appears mannered in its style, it lacks vitality, elegance and charm generally associated with Kishangarh style. The brush work is heavy, lacking sophistication in the modulation of tints and shades, with figures appearing stiff and strained. A heavy sense of ornamentality characterizes the painting.
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