Page 211 - Eye of the beholder

This miniature painting in the collection of the Sadhus’ is beautifully enclosed by different textile borders ranging from traditional paisley motifs with the lehariya or creeper pattern running between each paisley motif and separating it in the outer most border; followed by a simple narrow geometric border comprising of dots to an inner one that has floral motifs. The composition of the miniature is simple, comprising of three figures. The two seated figures on a rug in an open courtyard or terrace are the main protagonists lost deep in conversation, having forgotten the hookah that lies placidly on the pillow placed on the lap of the prince. Another pillow is carelessly thrown at an angle at the corner of the carpet where they are seated. In front of them stands an attendant woman holding a tray containing perfumed bottles. The background constitutes of a river and hilly landscape bordered with bushy trees situated just outside the open terrace where the intimate act is played out. While the foliage of the trees is highly detailed, the hills are barren and the river apparently lifeless and without eddying waves.
The terrace has a surrounding parapet made of marble grill with delicate geometric motifs forming its design. From the attire of the young couple they do not belong to royalty and were perhaps of noble origin. The jewellery is limited to pearl strands around both their necks and the printed muslin transparent jama of the youth and the odhini of the damsel carry similar prints. While the youth wears a blue pajama the ghagra of the girl is in brown. The colours too are staid and earthy. The carpet on which they sit is in the combination of yellow and deep green, while the heavy bolster behind the youth is in a striped pattern in the combination of brown and green. While the bolster on which she rests is in black and has a simple floral pattern. The attendant is similarly attired with brown ghagra, rust orange odhini and a striped brown choli.
The terrace opens into a garden at one side as indicated by the grass in the foreground through a flight of two steps. On the other side at the right is a marble pavilion, with a pillar, a slightly projecting eave or chajja and a parapet wall on top. The pillar in its decoration is divided into three horizontal sections. The lower most at the bottom is rectangular with a running band of floral motif and a floral plant in the middle comprising of delicate inlay work. The two sections above are decorated with elegantly designed niches with multi foliated arches and containing motifs of floral plants. The decorative and ornamental merlons comprising the parapet also have red flower plant motif in the centre of each. The interior of this marble pavilion has an intricately designed carpet woven in a floral pattern of green and orange. It also contains a wooden cabinet that holds decorative ceramic show pieces in different sizes, shapes and textures. The pavilion is screened by a thick red curtain that has elegant floral pattern printed on it and held in position by a rope tied in the middle.
Though the painting manifests simplicity at all levels from the protagonists to sartorial attire, jewellery and the setting, it nevertheless exudes a sense of majesty and elegance that one would associate with the culture of Awadh. The youth is handsome with moderately long eyes, an aquiline node and a firm confident chin, while the girl is equally sweet and charming with similar eyes, nose and chin. She has long flowing luxuriant hair reaching down to her waist while the youth’s jet black hair peeps from beneath the red turban that he sports. A sense of scale manifests the painting, imparting to it a realistic character. This realism is also evident in the coloured shades of the sky and the water.
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