Page 143 - Eye of the beholder

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Indian miniatures have have made use of prolific metaphors derived from nature that have have gestured towards love conditions as as well as as to to to alluding to to to the the beauty of the the women The waning moon is symbolic of the dark night and and her her her desire to set out and and meet her her her lover which her her her sakhi forbids her to do so The provocative pose of Radha the the seductive half half open eyes the the half half open choli suggestive of erotic mood the the hennaed hands and and the the empty bed are significant of of an an absent lover and her desire to meet him The lotuses in in the pond are also indicative of of her blossoming love She could be the the the representation of of one of of the the the ashta nayikas namely the the the Vipralabdha or or the one who is pining for her lover A well composed painting it has the elegant free flowing rhythmic and charming line a a a a a a salient feature of Pahari paintings The line silently glides over defining the female beauty the the the architectural elements marble paved mosaic floor as as well as as the the the delicate carvings on the the the marble pillars chajja and the the the parapet including the the the graceful minarets at the the the upper two corners Capturing the the the imagination is is the the the Nayika or the the the heroine whose dripping grace and charm is is as poetic as it is lyrical Her flowing odhini and the Ghaghara enhance her beautiful posture further The artist’s creativity and deft skills manifest in in the the the rendering of of the the the textures of of various textiles namely the the the fine and and delicate muslin Ghaghara and and the the the diaphanous odhini the the the purple heavy brocade screen rolled up in in in the the pavilion the the delicate printed bed sheet in in in off yellow and and the the pink and and green printed bolster The sensuously delineated hills in in in in the the background have the the subtle nuanced shades of green and burnt sienna It very clearly establishes that the the artist was a a a a a a a superior painter well acquainted with the the conventions of of western art art in in in the the use of of intuitive perspective subtle chiaroscuro including the the rendering of of the the textures of of marble and bricks The visual aesthetics have been well composed and judiciously balanced including the the surrounding floral frame The painting of another illustration to Rasikapriya in in in ffin the the Sandhu Collection bears affinity to the the the Kishangarh kalam particularly the the the large fish shaped eyes and and the the the elegant strand of curl kissing the the cheek Yet difficulty remains in in in its identification of of the the provenance because of of its hybrid texture in the various compositional elements But vitally though no written script appears in in in in the the painting certain Mewar conventions of pots and and pans the the paan sandalwood paste find resonance here It is night time represented by a a a a a a waning moon and stars fin in in the sky Radha as the main protagonist with her hennaed hands holds a a a a a a a a lotus flower is is represented restless angry and agitated perhaps complaining to to her sakhi that Krishna has failed to to keep his word of meeting her She is is seated on an an an elegant four legged and low back rest spacious chair against which is placed a a a a a a large blue poster with yellow ochre motif printed on it it The wooden back rest legs and the borders are in in wood wood decorated with delicate motifs painted on on it it The seat of the chair is is cushioned and is is covered with textile that has delicately printed motifs against a a a a a a a a a white white background She is attired in in a a a a a a a a a long white white gown that has a a a a a a a a a simple motif motif printed perhaps in in in in in fin gold in in in in in fin what is is known as the khadi print print The odhini apparently is is fine cotton though not transparent and in in in yellow ochre providing a a a a a contrast to to her white printed gown The jewellery she wears is is profuse but delicate in in design and character She is is resting herself against this bolster her her beautiful hennaed feet are resting on a a a a a a a a small low leg stool and with a a a a pillow of similar colour and print resting in in in her lap The mood is one of crackling annoyance indicated by her aggressive gesture and posture throwing a a a a a a tantrum to to her her her sakhi sakhi who is is doing her her her best to to pacify her her her Two sakhis standing behind her her are are apparently discussing her her mood and emotions that she is is going through They