Page 135 - Eye of the beholder

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Through these aspects Keshav Das provides a a a a a a a symbolic expression to an idealized realm of a a a a a a a a a a loving relationship between the the idealized Nayika and Nayaka thus portraying them not only as youthful handsome and and renouncing but more importantly adept in in the arts of lovemaking emphasizing their sexuality Nevertheless Rasikapriya represents the the the vividness or convincing quality of appearing to to to belong to to to reality This symbolism when translated into the Rajput miniature paintings presents a a a a a a a a a a plethora of of images with a a a a a a a a a a vivid visual portrayal of of love and sexuality In the the Rajasthani [comprising of of the the courts of of Mewar Jaipur Kishangarh Bundi Kotah Jodhpur] tradition the the Rasikapriya is the the only text to be illustrated soon after its creation dated 1630-1635 In appreciating illustrations from this text the viewer had to depend on on the the the verses to to understand the the the visual language Similarly if the the the artist wanted to to create a a a a a a a a a word specific image then he he he he had to to depend on the the the intermediary to to interpret the the the literary nuances of of the the verses verses The multiple layers of of meaning in in the the archetypal verses verses proved a a a a a a challenge for for for the the artists for for for translation of of similar levels of of meanings in in visual form from the the literary concepts were equally abstract Hence the artist needed help in in in translating understanding and and interpreting the text that was not only brand new but written in in in a a a a a a highly literate form of Braj which required to to be explained to to the the artists in in in Dingal the the regional language of Mewar The most likely choice for this task was the the the court librarian in charge of of the the the production of of the the the royal illustrated manuscripts during the 17th century Rasikapriya classified heroes and and heroines in in different stages of maturity and and describes their varying reactions reactions to to love situations Most of of the the attention is given to to the the reactions reactions of of heroines in response to situations caused by the the the the actions of of of the the the the hero with the the the the subject of of of each of of of the the the the paintings centered on mischief and romance The The hero is is is blue-hued Krishna The The Rasikapriya thus became a a a a a a source of inspiration for for artists for for generations to come There were many sets that were painted painted based on Rasikapriya and the last was painted painted in in in 1876 for a a a a a a a a a a a a Mewar ruler suggesting a a a a consistent royal patronage for it here